Navigating the Gallery World In 2020 with Cassandra Bowes

How did you get your start as a Gallery Manager?

I started my art world career interning at the Pollock-Krasner Foundation in New York during my summers, whilst studying History of Art at UCL in London. You'll hear time and time again that work experience and internships are necessary (if at all possible!) for that much-needed leg up when it comes to applying for jobs in the art world and it's so true. As my third and final year at UCL was coming to an end, I started to think about what direction I wanted my career to go. Knowing that I wanted to be a part of the gallery world, I applied for a Gallery Manager position at Thomas Gibson Fine Art (TGFA). Having landed the role, I stayed at TGFA for 5 years, learning about the art world as well as managing a gallery. I had a great relationship with Thomas Gibson, who founded the company, and he became a very important mentor to me. I recently made the move to another gallery in London, Robilant + Voena, and I'm excited to see where that journey takes me!

As a viewer and critic, what elements of a work do you find yourself immediately drawn to first?

Colour! Someone once told me you're either primarily drawn to design or colour, and it's a dichotomy that appears throughout art history. For example, in the legendary rivalry between Picasso and Matisse, it was always said that Picasso was the king of draughtsmanship, but Matisse was the better colourist- which Picasso always envied. Whether it's the azure blues of Titian's Bacchus and Ariadne (my all-time favourite painting) or the searing reds and oranges of Rothko, I have always been immediately attracted to colour first. And I don't think I'm alone in saying I have a bit of a weakness for millennial pink right now!

What do you find the most rewarding about your job?

The extent to which I get to interact with the most incredible artworks up close, which for me is an enormous privilege. On the first day of my first job at Thomas Gibson Fine Art, I was asked to set up a beautiful Cezanne forest scene for a private viewing - it was an incredible encounter for a previous art history student who usually only saw works like this on the pages of books.

I also have to mention that the people I have met along the way have been some of the most inspiring people I have ever come across. There is such a wonderful combination of personalities in the art world - from curators and writers to artists themselves - who all seem so willing to help and encourage each other. It's a tight knit community and one that I am proud to be a part of. 

Given our current world health situation, do you feel this is going to directly affect the Arts Industry in the long run?

Absolutely- it has forced some of the more traditional galleries who were previously apprehensive to engage with the digital side of the art world, to do so in order to survive. It has catapulted the art world forward into the 21st century. No-one loves seeing an exhibition in real life more than me, but the option to view artwork digitally in new and engaging ways is so important to keep reaching new and younger audiences. Galleries have reported record levels of web traffic and the Courtauld gallery virtual tours experienced a 723% spike in visitors in March! The online viewing rooms are the new hot thing right now, and although these are a product of the current pandemic, I think they are here to stay. Ultimately, I believe that this will result in a re-think of the industry, making it more transparent and accessible to people from all walks of life.

How do you see the future of Galleries?

There will always be a place in the world for galleries and museums. However, personally, I find some of them quite unwelcoming places! Blue chip galleries are the worst culprits for this, and I would like to see a future where they ensure that their spaces are inclusive and approachable. This goes for both the visitors to the gallery, and the artists that they show. I know I am not the only one who has felt apprehensive about walking into a gallery space and trying to make sense of the long-winded press releases. My favourite gallery visits are those where I get into long conversations and debates with the gallery assistants about the work on show- or engage with the artist themselves!

Do you feel there is any room for improvement in the Art World?

The art world has long been described as an old boys' club and although a lot is being done to change this, the notion still persists. Statistics show that artists in major US museums are 85% white and 87% male. The younger the gallery, the more balanced the gender and diversity tends to be, so this is a sign that we are heading in the right direction, but so much more can be done. However, it is the major museums who must lead the way. One of my art world heroes is Frances Morris, who is the Director of Tate Modern in London. Besides being the first ever female Director of Tate Modern which is a wonderful step forward for the art world in itself, she is using her platform to bring inclusivity to the museums' permanent collections by specifically championing female and non-European artists. Diversity is the most important issue the art world faces right now but I think we're on the right track.

What are some of your favorite spots around London?

This is my favourite question that people ask me, because I love recommending the places I have found. It is the reason I started my arts Instagram (@the_arts_editor) so that I could share these discoveries with everyone!

Here are my top 3:

Newport Street Gallery: Founded by Damien Hirst to display works from his vast collection, it's rare to have a huge commercial gallery space in London such as this. Featured artists include Dan Colen, Boo Saville, Helen Beard, and anyone else that Hirst himself admires! It also houses the restaurant Pharmacy 2, where you can grab a bite to eat amongst Hirst's notorious Medicine Cabinets and butterfly Kaleidoscope paintings.

The Zabludowicz Collection: Founded by legendary collectors Poju and Anita Zabludowicz and housed in a former Methodist chapel in north London, it features an incredibly varied and ground-breaking arts programme. Some of my favourites have been the Rachel Maclean commission who filled the chapel space with her strange and cinematic films, as well as various virtual reality projects that are pushing the boundaries of art itself. 

Kristin Hjellegjerde (Melior Place): My all-time favourite hidden gem, this is the coolest London apartment-turned-gallery. It is still a fully functioning living space (you have to walk through the kitchen to access the main gallery) and architecturally beautiful in and of itself. Hjellegjerde also has a knack of picking the most interesting emerging artists to showcase, and letting them run wild with their ideas. Just recently she showcased James Ostrer, who covered the walls in painted squiggly lines - all the way up to the glass vitrine ceiling. It felt like being inside a painting!