THE OTHER movers & SHAKERS fourteen young art professionals mark the first canvas special feature on the people behind the scenes - those who help make it all happen. hailing from canada, iran, lebanon, syria, the uae and the usa, they share their passion for the middle eastern art market and how they got to where they are. 88 CHEHAB carol creative director, agial art gallery What do they never tell you about the job? That you develop art addiction and appreciation. Favourite artwork? Anything by Fernando Botero ( Canvas 7.1). What could you live without? Paperwork. w hat have you learnt on the job? Patience is the first thing you learn when deal- ing with artists, artworks and clients. Initially, when it came to selling artworks, Saleh showed me that in art, as in life, it’s all about taking your time and not about the money. I used to beg him to sell something, reasoning that we had to make a profit. Now, I realise that there are more important things than just making money, which will come, whether today or tomorrow. Why is it not about the money? Eventually it is, but what stood out for me was that Saleh really loves what he does and I greatly admire that. More than making money, this job is about art appreciation. One must first consider the artist, the work and the medi- um; success comes later. Artists who work with us learn not to think of money first. How was it a learning curve? It took a good five years to fully understand and appre- ciate everything about the gallery and my role within it, and more importantly, get to know Saleh and under- stand how he thinks. I was so excited and motivated by everything I’d learnt that before I knew it, it had been 10 years! I am just as excited about the next decade. Saleh is like family and this isn’t just a job anymore. It’s so exciting when an artist brings new work to the gallery; they live in another world, which I enter each time we discuss their work over a coffee. There is nothing routine about working at Agial What do you do on a daily basis? They say Agial is a one-man show, but I like to say it is a one-woman show! Joking aside – the fact of the matter is that each and every member of the Agial team is vital to our success and I couldn’t work without them. We trust each other blindly. I get to the gallery at 10 am and the most important thing is to be energetic and positive. I do everything from designing our invitations and the website to organising shipping and our participation at art fairs. What are some of the highlights? I love going to art fairs, especially Art Dubai, for its fresh- ness. Another high point for me was the Christie’s April 2011 sale, when Ayman Baalbaki ( Canvas 5.2) sold for $206,500. When people applauded, it made me so proud because I’d been there from Ayman’s very first ex- hibition until now, at every step of the way. An artist needs a good gallerist, it’s a rewarding relationship and even if we have some sleepless nights, it’s all worth it. Who are the most difficult people to deal with? Art critics and sometimes artists. Also, a collector who doesn’t know what he wants, or one who buys with his ear and not his eye. Are you ever daunted by it all? Yes, sometimes I crash, want to cry or beg for an assist- ant. But when we hire interns, I actually don’t like any- body doing my work, so I just give them really easy stuff to do! When I joined, things were organised differently so I essentially redid everything – from the filing to redesign- ing the gallery logo and website. Having been in the art world for 10 years, how has the monetary value of Contemporary art change? In the past, artists suffered to get their works recognised. Regrettably, their artworks became worthy only upon their death. This has now changed with more artists being rec- ognised during their lifetime, such as Damien Hirst, Jeff Koons, Anish Kapoor and Nabil Nahas ( Canvas 4.6). I look forward to seeing more of that in Middle Eastern art. Do you ever get tired of looking at art? On the last days of art fairs! But the art virus comes back, and swiftly too. What are your hopes for the future? It’s a dream to see international museums in Lebanon, but that will require a lot of effort. I’m happy to see more young collectors in Lebanon and across the Middle East and I hope this continues to grow. Does anything shock you anymore? A good artwork gives me a good shock. Artists also shock me sometimes, just in their way of thinking and living. When we discuss their religious, spiritual or even communist worlds, I sometimes say to myself ‘Carol, go back to Carol, go back’ as I get so drawn in. What would you say to those who claim that Middle Eastern art is nothing more than a bubble? We took the initiative to promote Middle Eastern artists because we believe in them. What we’re doing is wa- tering this little plant, which is our art community, and if we do this consistently, it will grow into a big tree and eventually it may become a mighty oak. The [Modern] art scene in Lebanon is 150 years-old and Agial is 22 years- old, so I can assure the critics that the art scene is real and not a bubble. carol chehab studied graphic design at the lebanese american university in beirut, after first focusing on interior design and business. graduating in 1998, her intention was to join her father’s business. a chance introduction to gallerist saleh barakat by chehab’s uncle led to what she thought would be a temporary job at agial art gallery. ten years later, however, chehab has become an integral part of the gallery and, alongside barakat, spearheads the promotion of agial’s artists around the world. Carol Chehab with an artwork by Saba Innab. Image courtesy Agial Art Gallery, Beirut. special feature MASUD zain assistant fair director, art dubai Zain masud was born in Jeddah in 1983, to a saudi mother and pakistani father, and later moved to london. in 2005, she graduated from the school of oriental and african studies with a ba in history of art, focusing on islamic art and architecture and Japanese prints of the edo period; electives, she says she “pursued in homage to my heritage”. in 2006 she enrolled at oxford university, completing an ma programme in history of art and visual culture after which she moved to paris to study french. masud interned with a few galleries; among them, galerie chantal crousel. when back in london in 2009, she found an ad in The art newspaper for employment at art dubai, applied, and was hired in october 2009 as the fair’s assistant director. w as there an appreciation for art at home? My father, who studied Islamic history, collect- ed Mughal miniatures and maps of Arabia – which led to a love for map reading on my part – and on his business trips to central Asia, he would return with paintings.I’d accompany him to the framers; our walls were always thoughtfully adorned. Both of my parents are creative people and share a love of poetry and music. My mother is a writer and anthropologist, so I developed a fascina- tion for the intricacies of ritual and symbolism. You pursued electives “in homage” to your herit- age. How come? I grew up in London knowing I wasn’t English; that Eng- land was my home but I had a responsibility to remem- ber where I’m originally from. I’d studied art history and thought it would be very sad to know more about West- ern art than my own. What about your MA degree? I was accepted to the Courtauld Institute of Art, which per- haps had a stronger course, but I chose Oxford instead. My parents, two uncles and so many heroes had gradu- ated from there – it’s so imbued with history, it’s just sheer beauty, its professors care so much about your develop- ment and the students are so vivacious, bright and origi- nal and you learn from them. While at Oxford, my interests began to shift from purely historical to purely Contempo- rary art. I’d visit London galleries and performances, ex- ploring my city more than I had ever done. I realised I was able to apply the art history theories I was studying to pick whatever I was looking at, irrespective of its period. How did your time in Paris help train your eye? I went there to study French for a PhD and lived near the Marais and felt that I was becoming more discerning. Interning at Galerie Chantal Crousel was wonderful and something of a revelation for me. My understanding of beauty changed drastically, I realised you need time with objects; it taught me that your eye evolves. Why did you apply to Art Dubai? It was the first fair I had attended! I realised there was so much happening in the Middle East and wanted to be a part of this. I remember thinking that the fair was the con- text for me. Art Dubai was keen to nurture the relationship between its galleries and collectors and help translate cul- tural nuances and continue to build on the service it was providing the region. I had a vested interest and a sense of social responsibility; I am a daughter of the region and was keen to share the exposure of what I had been privileged to learn abroad. What do you like and dislike about your job now? I love the art and meeting people, but the overwhelming attitude of some people involved in Contemporary art can be jading. The Middle Eastern Contemporary art scene is more hospitable and gracious than any other, with the ex- ception of the Chinese. I’ve discovered thatº you learn very quickly how to deal with people and get the job done. What does it take to do your job? People skills, stamina and passion; you’ve got to get a kick out of people and art. I still get genuinely excited when I see good art and wish I could buy it all. I have a wonderful imaginary collection! What about the future? I would love to be a patron and remain a professional in this business. The five days of the fair are so gruelling and challenging but so exciting. It’s incredibly rewarding when people talk about how much they discovered there. How would you describe working in art fairs? Connections. People. Art. Stress. Gathering of information. And you have to have tenacity! People also go to fairs to build and nurture their connections and collections. What disappointments have you encountered? In the Middle East art world – I don’t want to see another veil in a picture! Though it is changing, some still perpetu- ate the same visual vocabulary and there is a market that wants more. The audience has to be more discerning – we need to become more comfortable at being critical of oth- ers and ourselves because regionally, people are good at clapping. We also need to build confidence and that’ll be a long journey. I still encounter a fair degree of patronis- ing in the West on the Gulf and wider Middle East, which is frustrating and short-sighted. The region is indisputably part of our future in the art world; most people recognise that, but there are others who still need to sit up. After art? Food. It’s a cultural endeavour. If not this job, then? A gastronomic writer. First art acquisition? Works by Isabelle Cornaro. Zain Masud at the Art Dubai 2011 fair. Photography by Salahuddin Masud. 90 KHAYAT hala specialist, christie’s dubai h ow did working with Christie’s come about? It was following a chance encounter with Michael Jeha, Managing Director of Christie’s Dubai; he intro- duced me to then-specialist William Lawrie, who needed someone to write notes for an upcoming Christie’s sale of Contemporary Middle Eastern and Iranian art, so I began freelancing as a consultant, which involved researching, reading and writing about each lot. A year later, I was of- fered the position of Junior Specialist for Contemporary Middle Eastern and Iranian art. What are some of the added responsibilities at- tached to being a Specialist? My main job is to find great pieces and secure them, which is a long process that entails researching, pric- ing and validating the work with the families, estates and scholars familiar with the artist. Once the contracts are signed, we create condition reports, write the notes, cap- tions, and create the catalogue, designing its layout with the team both locally and in London. I am also involved with the setup of the exhibition and obviously, the sale of the works. Growing up, were you surrounded by art? You are constantly surrounded by beauty in a city like Damascus; even my classrooms had carved mother-of- pearl on their ceilings. My father would also often take me to visit artist ateliers, carpet sellers and exhibitions, so I was exposed to art from an early age. What kind of art catches your eye? I love the hidden messages that can be found in works by Arab artists. Their pieces are quite politicised but this reflects our culture, as it is in our nature to discuss politics. What drives me personally is the Post-War and Contemporary era as the works are so cutting-edge and really tap into my generation. I own works by Sa- mia Halaby ( Canvas 2.1), Ayman Baalbaki ( Canvas 5.2) and Asmaa Munawar. I can’t help feeling that it is my responsibility to buy Arab art as I want to support artists from my region. What are your views on the current Middle Eastern art market? I think the current scene is great, because it has finally materialised into something concrete, recognising tal- ents and placing them in international institutions. The older generation of Middle Eastern artists had to struggle for many years before they were able to support them- selves. Nowadays, with international galleries adding Middle Eastern artists to their roster, the situation is dif- ferent. Who would have dreamt of this prior to 2006? What do you think the effect of the auction houses has been on regional art? raised in her native syria, hala khayat’s pursuit of an artistic career was firmly rooted in her desire to “find hidden artistic treasures from the region and share them with the public”. after obtaining a ba in fine arts from the university of damascus in 1999, she pursued an ma from london’s saint martins college of art and design, where she learnt the business side of the field. this stage in her career is serving its purpose years later in her current role as specialist for one of the world’s leading auction houses. What is art? A way of life. Wish list? A work by Diana Al-Hadid or Tala Madani (both Canvas 7.3). Your advice to collectors? Love the art that you buy. And if you can, buy the best piece in the show. I attended the first Modern and Contemporary Middle Eastern and Turkish art sale back in May 2006 and knew right then and there that it was going to change how peo- ple viewed Arab art forever. I immediately sensed that it was the tipping point for the art scene in the region. Thanks to auction houses, artists have gained interna- tional recognition and their works are worth something in the eyes of organisations, foundations and collectors. Auction houses have helped establish a real Middle Eastern art market. What do you feel are common misconceptions about auction houses? Everyone thinks that auction world are only interested in the market, but we are equally interested in the art move- ment. Without the product, you can’t have a market. Of course there is the business side of things, but Christie’s offers artworks created by authentic artists, living or de- ceased and who have certain ideologies, dreams and opinions. That matters to us, which is why we believe in raising awareness of each artist and lot. Looking back at your career at Christie’s so far, what would you say are the highlights? It has to be witnessing the 2008 Christie’s sale of Parviz Tanavoli’s ( Canvas 4.2) The Wall (Oh Persepolis) , which sold for $2.8 million and was the most expensive work of a Middle Eastern art ever sold at auction. Major highlights from every sale are always exciting. During the last Chris- tie’s auction in April 2011, the most memorable moment was when we sold Abdulnasser Gharem’s The Message/ Messenger . No one knew it was going to sell for almost $1 million. This element of surprise makes my job continu- ously exciting. I hope to be involved in more such sales in the future. Hala Khayat manning the phone at auction. Image courtesy Christie’s Dubai. special feature MOUSAWI aya assistant curator, edge of arabia describing her foray into the art world as “inevitable”, 23 year-old aya mousawi owes much of her artistic exposure to growing up in london to iraqi parents who are avid collectors of modern and contemporary iraqi art. it was during her second year studying history of art at london’s school of oriental and african studies that mousawi first began interning for edge of arabia, a london-based arts initiative promoting contemporary art from saudi arabia. fast-forward four years and mousawi is now assistant curator for the non-profit organisation, proving that a strong desire to “educate people through art” goes a long way. w hat does your role entail? At first, I was working closely with the artists as a mediator between them and the curators. As Edge of Arabia developed further, I began working closely with patrons and sponsors. I am involved in the events that coincide with the exhibitions, as well as in supporting the curators and designers to create a brand that is visu- ally accessible and corresponds to the show. Of course, there is also the administrative aspect of the job such as sending visuals and invoices, paying invoices for ship- ping and setting up opportunities for future events. Having studied history of art, what do you feel has been the main learning curve for you on the job? All of it. Art schools don’t teach you the ins and outs of how to organise an exhibition or develop relationships with artists, sponsors, collectors, curators etc; no books tell you how to do that, so you need to learn from ex- perience and the people around you. I owe nearly all of what I know to Stephen Stapleton, the founder of Edge of Arabia, who has been my mentor throughout the past four years. If you could go back in time, would you have done anything differently in your career? Probably savour a few more moments and make them last longer. I would take more time to appreciate where I am and the people I have met. What has been your most memorable experience ? There were two significant moments: the delegation I led with Qatar’s HRH Sheikha Mozah Bint Nasser Al- Missned at Edge of Arabia’s Istanbul exhibition Transi- tion in December 2010 and the April 2011 Christie’s sale of Modern and Contemporary Arab, Iranian and Turkish Art . When Abdulnasser Gharem’s The Message/ Messenger sold for $842,500, it was such a euphoric moment for me. I felt as if we’d had this amazing se- cret for so long that suddenly went public and, at that moment, everyone realised that what we were doing was special. What disastrous situations have you come across? Well, shipping and logistics are always a bit complicated, especially doing as many exhibitions as we do. Some- how, we accidentally shipped 100 of our Istanbul show Transition ’s catalogues, 500 of Dubai’s show Terminal ’s catalogues and about 30 copies of Rolling Stones and Esquire magazines to Israel! As an Iraqi/British national, why do you feel it is important to raise awareness of Contemporary art from Saudi Arabia? I have always felt that Saudi art had not been given as much of a platform as other art from the Middle East. I used to visit Mecca and Medina as a child and so, to me, the prospect of showing works from Saudi artists was always exciting. As a Muslim and Arab living in London, I believe it is important to tell a different story than the one portrayed in the media.I want to show works by Saudi artists that the public would never expect. Do you have a favourite Edge of Arabia artist? I can’t use the term ‘favourite’ as I am very close to all the artists and respect and admire many of their works. I think Manal Al-Dowayan ( Canvas 2.4) and Ayman Yossri Daydban have developed hugely as artists and I find their work truly inspiring. But the two that I have worked clos- est with, and whose oeuvre and story I know in-depth, are Ahmed Mater ( Canvas 7.1) and Gharem. I see them as the trailblazers of the Saudi Contemporary art move- ment. Their work is so accessible on so many levels and their ideas are so rich. Cowboy Code by Mater is my cur- rent favourite work. It is so simple, and yet I can’t help but get goose-bumps when I look at it! I wait with anticipation to see the next body of work that they produce. What grabs you in an artwork? It’s the concept that grips me. Of course it has to be vis- ual as well, but when a work has multiple meanings that come across instantly, I really appreciate it. What do you think the current Middle Eastern art scene needs more of? More people from the Middle East who have an educa- tion in the arts. So many scholars and professors working in the industry are actually not Middle Eastern. So, I think we need to educate ourselves to forge the next genera- tion of curators, journalists, artists and gallerists. What do you dislike about the art scene? Having to deal with all the egos! Wish list? Ahmed Alsoudani ( Canvas 5.5 ). In five years... I will definitely still be in the art scene! Aya Mousawi with Ahmed Mater’s Evolution of Man Photography by Hatem Awidah. 92 w hat does your role entail? Since I opened the drawing department, we hold exhibitions within it alongside exhibitions in the main space. Thaddaeus Ropac and I were keen on adding this unique element to the gallery, as works on paper really shed light on an artist’s talent and technique. As there are only a few people at the gallery who actually take care of the artists, my role also entails working on the shows and placing artworks in appropriate collections. There are also administrative tasks that go hand in hand with the job, such as sending visuals, making phone calls and writing emails, as I am the mediator between the artists, curators and collectors. I am also constantly doing research on artists, curating shows, visiting artist studios, attending fairs and selling works. Do you think there is a personality to selling art? When you really believe in the artist and his work, it is easy to sell, no matter your character, because you un- derstand all aspects of the piece and can explain it to the collector. What grabs you in an artwork? It is all about sensitivity and since art is a human creation, you need to meet the person behind it. What do art schools not teach you about the industry? They don’t teach you how to actually deal with artists. I definitely learnt that aspect of the job from Ropac, as he is so professional and advised me, from the very begin- ning, to be generous with artists. You initially introduced the gallery to the Iranian art- ists now on its roster. What drew you to this genre? I have always been interested in Persian culture and art, but knew mostly of the older generation of artists, such as Monir Farmanfarmaian ( Canvas 4.5) and Charles Hossein Zenderoudi ( Canvas 5.5). I didn’t have much access to the younger generation but through word- of-mouth knew that interesting things were happening. I went to Tehran to see for myself in 2007 and was as- tonished by the quality, technique and diversity of Con- temporary Iranian artists. Their works weren’t reminiscent of anything done before, they were purely original and creative. I find their references to poetry and literature unbelievably fascinating. Their works are educational, as they are mostly reactions to current events but are conveyed poetically. What is your most memorable experience so far at the gallery? My most memorable moment was when we held the group exhibition Raad O Bargh in 2009. It featured 17 art- ists from Iran and they all came, so I was very touched, especially since they became friendly with each other and were all happy with the final show. It was a great mo- ment. That is the real reward of the job – when everybody is happy with what has been accomplished. Have you ever had to manage a disaster at the gallery? For the Raad O Bargh catalogue I chose a special type of paper, as we were including interviews with the artists, so it was quite different from anything we had done previously. But when the catalogues arrived, we realised that it was too matte and all the colours of the works had come out too dark. We had to reprint every- thing all over again! What has been a professional learning curve for you in the past five years? I have definitely had to learn how to deal with the pres- sure of the industry, as well as the importance of being on time. What is the most difficult aspect of your job? Having to say no. Advice to art world freshmen? Be patient! What do you think Middle Eastern artists need more of? Being placed in more museum collections. DE POURTALÈS victoire drawing department, galerie thaddaeus ropac throughout her youth, french-born victoire de pourtalès had a fascination for “works from various periods of art history”, which propelled her to pursue a career in the arts. after studying at paris’s ecole du louvre, de pourtalès enrolled at the city’s institut des carrières artistiques in 2003, which required students to complete internships at numerous art institutions. this led to months spent at christie’s paris and galerie florence de voldère, the latter solidifying her desire to “work with artists directly, as well as understand their mind frame and process of creation.” she then joined galerie thaddaeus ropac in 2006, going on to establish its drawing department where she has been working since. Victoire de Pourtalès with Strut, a work by Richard Deacon. Photography by Jean Luce Huré. special feature gallery director, ivde despite having always been passionate about culture, belgian-born tessa de caters’s involvement with art was unplanned. after obtaining a ba in advertising from the brussels institute for higher studies in social communications, she went on to earn two ma degrees from the ichec brussels management school and the city’s solvay business school. de caters then worked at a tv production company in the uae for two years prior to joining her elder sister isabelle van den eynde’s dubai- based gallery (formerly b21 gallery) in 2006. the space has since rebranded to gallery ivde where de caters is its gallery director. y ou joined the gallery in its nascent stag- es in 2006. How has your role evolved since then? In the beginning, I was involved in all aspects of bringing it to the high standards it maintains today, from building the database to graphic design work, logistics, develop- ing the brand, nurturing the artists and expanding the collector base in Dubai and beyond. My role now entails more ‘big picture’ responsibilities, such as scanning the market for opportunities, determining, with my sister, the gallery’s long-term strategy – where the artists are now, where should they be in five years – as well as establish- ing, beyond our space in Dubai, appropriate platforms for Middle Eastern art to gain the international visibility it needs and deserves. Why are you passionate about Middle Eastern art? Art has always been a part of Middle Eastern culture. The premise of traditional Islamic art was to add beauty to everyday life. Centuries later, the underlying principles of Contemporary art are different, but the region’s cul- ture still values, beauty and art to an extraordinary ex- tent. In addition, Contemporary Middle Eastern art has an important role to play not only within the region itself, but internationally, as an alternative perspective to what is portrayed in the media. Favourite art fair? Art Dubai for having brought art from this region to the international stage. Best career advice you’ve been given? It is when you fight for the last bite that you risk losing everything. What is art? A glimpse into a part of ourselves that we didn’t know existed. DE CATERS tessa What has surprised you the most about the UAE art scene? Its variety and versatility. The UAE is comprised of seven emirates, three of which have strong artistic ambitions. Du- bai has established itself as the market place, Sharjah is filled with wonderful museums that serve the local popu- lation in important ways, and Abu Dhabi is building the world’s most ambitious artistic institutional projects to date. What is your most memorable experience working in the art world so far? Drawing from recent experiences, I would say participat- ing in the Art Brussels fair this year for the first time was definitely a highlight. On the opening night, a Belgian col- lector bought a piece by one of our Iranian artists. He had discovered the gallery and our artists by reading about us in a magazine and told us he was really happy to see Middle Eastern artists finally showcased at Art Brussels. For my sister and I, who were both born and raised in Belgium, it was rewarding to take the gallery back home and witness such a positive response. IVDE’s gallery roster is predominantly Iranian. Why are you so drawn to this genre? Iranian culture is fascinating. The country was a cradle of civilisation and helped influence the artistic develop- ments of the region at large. The artists we work with speak of this strong artistic legacy, into which they were born and which has informed, in undeniable ways, their artistic language and thematic interests. The world that their work has opened to me was one which I was imme- diately drawn to and which the gallery seeks to share with a greater audience. I am very confident that the recent surge of interest in Iranian art is justified and promising. Yet while our roster of artists has indeed been predomi- nantly Iranian, it also includes a number of other Middle Eastern artists. We are, of course, hoping to become a platform for international talent as well. What does IVDE Gallery look for in artists? Their works need to be unique; we also search for artists who marry themes and aesthetics in convincing ways. We are drawn to those who are willing to take risks, pave the way for others and evolve creatively. What are the benefits of running a family business? Our relationship is built on trust and that is essential when you work in a small team. Our commitment to the gallery is unconditional and that is something we both appreciate in each other. As sisters, we also know each other very well, which saves precious time! What are your thoughts on the current Contempo- rary Middle Eastern art scene? It’s impossible, today, to ignore what’s happening in the Middle Eastern art scene. The museum projects at different stages of completion in Abu Dhabi, Qatar and Saudi Arabia are shifting the zones of influence away from Western hegemony. Despite the increasing amount of Middle Eastern artists and art professionals on the global art world radar, they still remain unknown or misunderstood by a large number of people. This is true not only for Middle Eastern art, but for the region’s culture and people at large. Tessa de Caters with works by Farshid Maleki. Photography by Tala Chukri. 94 LAUREN How do you unwind? I take a long walk along my favourite New York City streets. Ever been star-stuck? A little, when I met Jeffrey Deitch and shook his hand. Favourite artwork? Anything by Jean-Michel Basquiat. ANAHITA How do you unwind? Lots of yoga and time with family and friends. If you could come back as an art world personality who would it be? Marcel Duchamp. Favourite artwork? Cy Twombly’s Lepanto series. anahita von plotho grew up in a family of avid art collectors. raised in munich, germany but of iranian origin, von plotho received a ba in communication from the university of massachusetts, amherst in 2003, after which she returned to germany and worked in marketing at a communications firm. keen on the arts, she went on to obtain an ma at christie’s education in new york in 2009, where she wrote her thesis on iranian artist yZ kami ( canvas 5.3). after lengthy correspondence with leila heller, who had given kami his first show in new york in the 1980s, von plotho was hired as gallery director in 2009. growing up, lauren pollock loved learning about history and other cultures. a trip to europe during her teenage years ignited her love for art, as well as inspired her to pursue a ba in art history from boston college. straight after graduating and certain of her desire to work in the arts, she enrolled for an ma in modern and contemporary art history at hunter college in new york. while obtaining her degree, pollock met leila heller, founder of leila heller gallery, who offered her the position of gallery assistant in 2008. she is now gallery director. w hat does a typical day entail? LP : My main responsibility is to oversee exhibi- tions and art fairs, work closely with our artists and help develop the gallery’s relationship with collectors, curators and critics. We are extremely active in the secondary mar- ket, so a large portion of my day usually involves research- ing and working with artworks that have rich histories from different time periods. AVP: I manage artists’ careers, liaise with estates, cu- rators and clients, and oversee exhibits and art fairs. I work on sales in the primary and secondary markets and also work closely with our press department and write press releases. What is the most challenging aspect of your work? LP : The need to wear so many hats. Working as a gallery director is in no way boring. There is always a lot to do in terms of administrative work, as well as shipping and registrar tasks and even assisting with the accounting of POLLOCK lauren VON PLOTHO & anahita gallery directors, leila heller gallery Lauren Pollock and Anahita von Plotho with works by Shahram Karimi. Image courtesy Leila Heller Gallery, New York. Photography by Lauren Peltzman. the gallery. It is sometimes difficult to constantly switch from one area to the other. AVP: Shipping and customs sometimes pose a chal- lenge. We receive so many artist portfolios and one of my responsibilities is to bring to Leila’s attention those who could fit into our programme. The hard part is that 99 per cent of the time, we have to say no. While we have naturally developed a specialisation in Iranian art (due to Leila’s background), we also exhibit Arab, Turk- ish, American and European art. It’s not about national- ity; it’s about art. What is your most memorable experience at Leila Heller Gallery? LP: Some include working with Iranian artist Reza Der- akshani ( Canvas 4.4) on his January 2009 show, which was the first exhibition at the gallery that I helped organ- ise; another was the group exhibition, Selseleh/Zelzeleh- Movers and Shakers in Contemporary Iranian Art , which coincided with the Chelsea Art Museum’s groundbreak- ing exhibit Iran Inside Out . It was truly a breakthrough exhibition for Iranian art in New York – a huge crowd of people amassed on opening night! AVP: I have many! Over a year ago, I went to Iran on behalf of the gallery to look for artworks to be included in our Tehran-New York exhibition. I like working with artists, the excitement of the secondary market and dealing with clients who have Post War Contemporary artworks, as we often come across very special pieces that have rarely or never been seen on the market. In order to find a buyer for these works, we need to conduct quite a bit of research, which I love as it allows me to use my art history background and investigative skills. How is the Middle Eastern art scene developing in New York City? LP: It’s developing more slowly than in other parts of the world, including Europe, but there is increasing inter- est. Many American clients are now starting to enquire about specific artists and pieces. The gallery places a significant emphasis on its educational programming, which includes producing exhibition catalogues with es- says by important scholars and writers in the field. We organise many panel discussions and are constantly trying to reach out to the public to promote a wider un- derstanding and knowledge of Middle Eastern art. It also helps that many American institutions are now acquiring Contemporary Middle Eastern Art. While it is definitely a challenge to be the only gallery in New York City special- ising in this field, we have come very far and our collec- tor base of American and European collectors continues to grow. AVP: I’ve definitely noticed a growing interest in Middle Eastern art in New York City since I started working at the gallery. American art institutions are increasingly expanding to include art from the East. We haven’t had any problems with censorship, which enables us to place artists from the East and West more freely in dialogue with one another. What do you feel it takes to do your job? LP: You definitely have to be able to multitask! Having a creative sensibility is also important. Above all, though, you need passion for what you do. AVP: Passion for the arts, empathy for the artists, interest in the art market and the skills to work well in a very fast- paced environment. What were your preconceived notions of working in the art world? LP: That it was all glamorous! I probably thought that the art world was smaller than I am discovering it is! AVP: I had always heard that the art world was really small but I was amazed when I found out how small it really was! Why do you believe in Middle Eastern art? LP: The artists from the region and the Diaspora are creat- ing what is, in my opinion, some of the most dynamic and innovative art today. It is exciting, but it is art that I believe will also sustain. AVP: It’s definitely going someplace. The market is re- ally flourishing. I believe in it art because I encounter the depth of artistic creation on a daily basis. I see an increasing number of international collectors gravitating towards art from the Middle East. What is so important is that artists are continuing to do their work and I have no doubt that the market will grow and that the econ- omies of the Middle East will play an integral part in this. special feature Anahita von Plotho and Lauren Pollock surrounded by works by Farhad Moshiri, Shirin Aliabadi and Shirin Fakhim. Image courtesy Leila Heller Gallery, New York. Photography by Lauren Peltzman. 96 w hat is exciting about working at the gallery? I get to work with so many talented artists from all over the world. Really, the gallery functions as a kind of nexus where all these artists and their ideas interconnect. What is exciting for me is that I get to aid this process work more smoothly by helping artists ex- press, share their ideas and write about their art. I get to facilitate between what the artist is trying to do and how the gallery, visitor or collector can come into it. I also find the sales side of it all very interesting, being at an art fair and meeting people. What has been part of the learning curve? Simple things like multi-tasking – you’re doing so much that you’re constantly having to learn to prioritise what needs to be done. I also think that the job is so much bigger than just sitting in the gallery and waiting for peo- ple to come in and buy the art. I’ve learnt that being an artist requires more than making great art. It also involves meeting deadlines, writing texts about your work and working with people in a team. What stresses you out? On the days before we leave for a fair, there are a lot of last- minute things to do – from updating artist CVs to adding images to the iPad and packing everything necessary for the installation when, for instance, there isn’t much time to find hardware stores in unfamiliar cities. When you couple this with artworks being delayed by customs, or delayed in general, it can cause a little bit of stress. Any disasters? I once spent 20 hours at Dubai airport because I didn’t have a visa (my fault), or when we set up at Art Asia Miami without air-conditioning because the fair organiser only got it for the days of the fair proper – very sweaty! Also, in