Path to Art Advisory: Mark Hughes
Photo: Tony Amos
Mark Hughes founded Mark Hughes Art Advisory in 2011. Before that, he was Director of Galerie Lelong, New York for nine years and Associate Director of Barbara Gladstone Gallery, New York. He has worked with some of the world’s most influential artists including Vito Acconci, Andy Goldsworthy, Shirin Neshat, Yoko Ono, Sean Scully and the late Nancy Spero. Before his time in New York, Mark was Associate Director of Sydney’s Sherman Galleries (1992-2000) working with many leading contemporary Australian artists. Throughout his twenty years with commercial galleries, Mark collaborated on exhibitions with many of the world’s leading museums including the Metropolitan Museum of Art, New York; Museum of Contemporary Art, Sydney; National Gallery of Art, Canberra; Centre Pompidou, Paris and the Tate Gallery, London. During his time in the US Mark was involved with a number of non-profit arts organizations, including Artists Space, New York, where he served as a board member.
Mark photographed at Sherman Galleries, Sydney for the German magazine Tableau in 2000
What was your first “art world” job?
Interning at Sherman Galleries in Sydney while I was studying art history at university. This led me to a full time position as assistant to the curatorial director, when my degree was done. Apart from the usual general admin (including in those days labeling slides by hand!) I also started selling work from the shows, which I loved. The gallery was very professional in all its activities, so I learned office management through to client communication. I found that I really enjoyed selling and being involved in that process, and still do.
What's one lesson you learned that has stayed with you?
You can never judge a person's interest, values, knowledge or taste (in art) by how they appear. A deep personal engagement in art can be the same for a billionaire or an art student. A gallery space is open to the public and somewhat "neutral" territory so it can take time to understand where the conversation might land. As an art advisor, I still learn from clients and don't assume any level of knowledge regardless of their opinions, which are freely expressed.
Who did you look up to when you were first considering art advising?
From working in galleries for over 20 years, the art advisors I admired were always the ones who had credibility - they knew the art, they had receptive and respectful clients, they were transparent on the financial arrangements, and were grateful for the role of the gallery and the work involved in facilitating the art acquisition process.
What drew you to art advising over other art world careers?
I loved working in the commercial gallery world, but you ultimately represent the artists who are part of the gallery. What attracted me to art advising was the opportunity to spread the net as far as possible and work with as many artists and galleries as I wished. I was also ready for a change from representing the maker to representing the buyer.
Mark at Galerie Lelong with Kate Shepherd, 2011
Mark Hughes, Sharon Vatsky, James Rosenquist, Anne Strauss and Caroline Kennedy selecting artists at the Metropolitan Museum for PS Art 2009
What advice would you give your younger self just starting out on the path to art advising?
I would advise my younger self to visit as many museum shows and be as curious as possible, and also to spend time working in an auction house to understand the secondary market better. To all people considering going into this profession I say: look at as much art as you can, study and learn. To advise someone about something, you need to know your stuff.
