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Jeanne Greenberg Rohatyn is an American art advisor, curator, and gallerist. She owns Salon 94, a gallery based in New York City, which focuses on innovative and contemporary art. Founded in 2003, Salon 94 began as part of Greenberg Rohatyn’s vision to push the boundaries by showcasing art in unique settings. The gallery has become known for displaying artworks not only in traditional gallery spaces but also in more unconventional and creative venues.
Greenberg Rohatyn has had a significant impact on discovering and advancing artists’ careers. Additionally, she played a key role in organizing the setting for Jay-Z’s “Picasso Baby” music video, bridging the gap between the art world and pop culture.
Barbara Guggenheim
ART CONSULTANT
Barbara Guggenheim is the Founder and President of Barbara Guggenheim Associates, one of America’s best-known firms of art advisors. For over forty years, she’s built collections for major corporations, such as Sony and Coca-Cola, and individuals, including high-profile celebrities Tom Cruise and Steven Spielberg. Guggenheim holds a doctorate in Art History from Columbia University and has headed two departments at Christie’s.
Guggenheim has written commentaries on the art world for many journals, including The Robb Report, regularly appears on industry power lists, and has been the subject of numerous magazine articles, including profiles in Vanity Fair and Forbes. She’s written five books, including Art World: The New Rules of the Game and Little Known Facts About Well-Known Figures. In her spare time, Guggenheim writes humorous short stories published in Elle, W, and Harper’s Bazaar, and she’s a competitive tango dancer.
She lives in New York and commutes between offices in Los Angeles and New York.
Kim Heirston
ART ADVISOR
Kim M. Heirston
Kim Heirston is a private art advisor and founder of Kim Heirston Art Advisory LLC. For more than twenty years, she has worked with clients worldwide to develop post-war and contemporary art collections for private residences, corporate headquarters, hotels, and foundations.
Heirston received a BA in Art History from Yale University in 1986. Following her undergraduate studies, she held positions in prominent New York City galleries, including Pace and the Robert Miller Gallery. At the time, Pace represented the estate of Mark Rothko, along with blue-chip contemporary artists, John Chamberlain and Chuck Close. At Robert Miller, Heirston engaged closely with the work of Louise Bourgeois, Eva Hesse, Lee Krasner, and Joan Mitchell.
In 1989, Heirston became the Director of Stux Gallery in New York. There, she coordinated international exhibitions of the gallery’s artists, presenting early shows by Andres Serrano, Doug and Mike Starn, and Vik Muniz in cities from Tokyo to Madrid. She also co-organized the gallery’s group invitational exhibition that took place every January. Regarded as a showcase for emerging international talent, this presentation became a highly anticipated annual event.
Heirston established herself as an independent art advisor in 1992. During the advisory’s early years, she placed works by then-emerging, acclaimed artists Richard Prince, Cindy Sherman, Jeff Koons, and Damien Hirst. Kim Heirston Art Advisory has since expanded its scope from contemporary art to include modern and post-war masters such as Pablo Picasso, Mark Rothko, Francis Bacon, and Andy Warhol.
In addition to advising, Heirston has undertaken a number of curatorial projects. On the occasion of the 20th G7 Summit in Naples, Italy, she commissioned artists from the forum’s seven countries to create site-specific works for a Neapolitan villa. Heirston’s work has also been featured in the media as part of curated sets for the popular television series, SEX AND THE CITY.
Heirston continues to advise a broad base of international clients, from Jeddah to Warsaw, Moscow to Mumbai. She travels extensively to international art fairs in such destinations as Abu Dhabi, Basel, Berlin, and Hong Kong, as well as to major exhibitions including the Venice Biennale and Documenta in Kassel, Germany.
AFFILIATIONS
International Director’s Council, Solomon R. Guggenheim Museum, New York (1992 -1996)
Photography Program Initiative, Solomon R. Guggenheim Museum, New York (1993-1996)
Auction Committee, Byrd Hoffman Water Mill Foundation, New York (1994-2005)
Board Member, SculptureCenter, New York (2006-2010)
Advisory Board, Hope for Depression Research Foundation (HDRF), New York (2010 -Present)
Arts Editor, AS IF MAGAZINE (2013-Present)
Maria Brito
ART CONSULTANT & CURATOR
About Maria
Maria Brito is an award-winning New York-based contemporary art advisor, entrepreneur, author and curator.
Her bestselling book “How Creativity Rules The World” was published by HarperCollins Leadership and was the winner of the Axiom Book Award, the International Book Award in the Business and Entrepreneurship category as well as chosen by Next Big Idea Club as one of the best business and creativity books of the year.
Brito was selected by Complex Magazine as one of the 20 Power Players in the Art World and was named by ARTNEWS as one of the visionaries who gets to shape the art world.
A Harvard graduate, originally from Venezuela, her first monograph “Out There” published by Pointed Leaf Press in 2013, was the recipient of the USA Best Book Awards in both the Art and Design Categories.
She has written for publications such as Huffington Post, Elle, Forbes, Artnet, Cultured Magazine, Departures, and the Gulf Coast Journal of Literature and Fine Arts from the University of Houston, Texas. For several years, Maria has taught her creativity course in companies and, in 2019, she launched “Jumpstart”, an online program on creativity for entrepreneurs based on years of research and observation in both the areas of business and art.
She has worked on product collaborations with artists such as Kenny Scharf, Erik Parker, Katherine Bernhardt, Assume Vivid Astro Focus, Nir Hod and many more. In 2016, Maria curated “Greek Gotham” presented at Dio Horia, Mykonos with the participation of sixteen New York-based artists including KAWS, Austin Lee, Nina Chanel Abney and Raul de Nieves. A full-color catalogue with an introduction by Jeffrey Deitch was written and designed by Maria to commemorate this exhibition. In 2019 she created and hosted “The “C” Files with Maria Brito”, a TV and streaming series for PBS’s new station “ALL ARTS”. The same year she also curated two exhibitions: “The Thousand and One Nights,” the inaugural show of Artual Gallery in Beirut, Lebanon with seven American artists including Holly Coulis, Allison Zuckerman and Rosson Crow and “MUSE”, Shona McAndrew’s first New York City exhibition at CHART Gallery in Tribeca.
Maria and her projects have been featured extensively in national and international publications including The New York Times Style Section, T: The New York Times Magazine, The Wall Street Journal, The Huffington Post, W Magazine, ELLE Magazine, Harper’s Bazaar, Time Magazine, New York Magazine, The New York Observer, The Daily Beast, The Economist, Interview Magazine, VOGUE Italia, VOGUE Mexico, VOGUE Latin America, VOGUE Brazil, VOGUE China, VOGUE.com, ELLE Décor Spain, Departures, Forbes, Blouin ArtINFO, Hamptons Magazine, Condé Nast Traveler, Architectural Digest, Modern Luxury, Refinery29, goop, Billboard, Marie Claire Australia, Marie Claire Spain, Allure, The Coveteur, House Magazine, House Beautiful, Buro 24/7, Latina, Modern Magazine, and more.
Hadley Powell
ART CONSULTANT
Hadley’s expertise spans from Old Master prints to Contemporary art. She started her career at Christie’s, New York as a specialist in the Prints & Multiples department where she researched and cataloged prints from Rembrandt to Rauschenberg. Subsequently in the Impressionist & Modern Art department, she worked on the high profile evening sales, where she advised clients buying and selling at auction and assisted in private collection management and fine art appraisals.
Hadley received a Bachelor of Arts in Art History and a minor in Economics from Union College. She holds a Master’s degree in Modern Art, Connoisseurship and the History of the Art Market from Christie’s Education, New York. Her prize-winning thesis studied the impact of the 1913 Armory Show on George Bellows’s Monhegan Island, Maine paintings.
She lives in Boston, Massachusetts and Northeast Harbor, Maine.
AFFILIATIONS
Board of Advisors, Development Committee, Museum of Fine Arts, Boston (2023-Present)
Patron Committee, Museum of Fine Arts, Boston (2023-Present)
Leadership Council Steering Committee, deCordova Sculpture Park and Museum (2020-Present)
Chair, Museum Council, Museum of Fine Arts, Boston (2018-2020)
Board of Advisors, Development Committee, Museum of Fine Arts, Boston (2018-2020)
Board of Advisors, Marketing and Communications Committee, Museum of Fine Arts, Boston (2018-2020)
Trustee, Massachusetts State Committee of the National Museum of Women in the Arts (2018-Present)
Xin Li
ART CONSULTANT
Nearly six feet without shoes, and with captivating Far Eastern features, Xin Li has been a center of attention since she was one of the tallest girls in China’s Manchurian region: first as a teenage professional basketball player for the country’s Jilin Province team, then, after being scouted on the streets of Beijing and relocating to Paris in 1996, as a top model on the runways of designers Yves Saint Laurent and Jean Paul Gaultier. However, in her “third chapter,” as the 39-year-old deputy chairman of Christie’s Asia Pacific calls it, her performances truly captivate an audience. You’ll spot her in the middle of the hysteria of Christie’s live auctions—prices climbing to seven, eight, nine figures—calmly poised with iPhones glued to both ears, speaking Mandarin into one and English into the other, and using yet a third to snap photos of this art-world spectacle and send them to clients on the other side of the planet. “I’ve sat behind her [during sales] and it’s fascinating,” Brett Gorvy, the chairman of postwar and contemporary art at Christie’s, says. “She’s a force of nature!”
“Timing in life is everything,” says Li. “And location,” she adds coyly. She’s referring to St. Barth’s, her “lucky spot,” where she met not only her fiancé, music executive Lyor Cohen, last year, but also Diana Widmaier Picasso, whom she was introduced to at a cocktail party in 2008. The two struck up a conversation that would forever alter Li’s life. At the time she was 32, an age at which models are typically forced into retirement, and she wondered if Picasso’s granddaughter could give her some tips on how to make it in the art world.
“I saw she had an insatiable curiosity [about art], so I suggested that she be an artist,” Widmaier Picasso recalls. “But she had no inspiration and no inclination to create anything. So I said she should work in the auctions.” Fortuitously, Emmanuel Di Donna, then Sotheby’s worldwide vice-chairman, was on the island, too, and an introduction was made. When Li got back to New York, she quit modeling and began work as an auction-house trainee. “Better than any school could offer,” she says of her crash course in art, wine, jewelry, and whatever else her peers thought the new girl with good style and great connections should know. After a few months, she was moved to the private-clients sector. Widmaier Picasso remembers a call from Di Donna in which he joked of Li’s potential: “Your friend is nice, but she could be dangerous.”
Alexandra Freedman
ART ADVISOR
Alexandra Freedman’s career didn’t start in the art advisory sector, but the former Christie’s auction coordinator set out to help people find quality artwork while supporting the work of artists.
Freedman founded her company Electra Projects in 2018 as a response to a certain group of people who she observed to be curious about collecting art but did not know where to begin or how to distinguish works of merit from white noise. In order to take out the guessing game about what to place on walls, Freedman offers her network and services, integrating arts education and awareness of emerging talent to her clients.
We spoke with Freedman about how the pandemic affected her business, her favorite contemporary female-identifying artists, and how she embeds her Latin American heritage into her work.
What are the advantages and disadvantages of being an art advisor as opposed to being a gallerist?
Alexandra Freedman: Being an art advisor gives you independence. There are no boundaries or expectations relating to creative choice and there’s beauty in taking time to educate and create high-touch experiences for my collector clients. Furthermore, the advisor role lends the opportunity to help artists establish a market by placing them in collections. Similar to a gallery, an advisor acts as an agent in promoting why certain artists merit attention, yet unlike a gallery, an advisor functions as an extension of the buyer. We provide reciprocal services by supporting gallery programming by facilitating sales, but also meeting our clients’ collecting and design needs. These roles accrue to an artist’s ascendancy, so there is a mutual responsibility in our work.
Left: Installation view of Ethan Cook painting installed at a private residence. Image courtesy of Electra Projects. Right: Alexandra Freedman at Tom Wesselman: Standing Still Lifes, 2018 at Gagosian Gallery. Image courtesy of Electra Projects.
How has the pandemic affected your work? What are some ways your practice has adapted to the current situation?
Alexandra Freedman: Yes, the pandemic has affected my business, for better and for worse. Now that we are all spending more time at home, we are motivated to make our homes feel complete which includes placing artwork on the walls. This is the time to bring art into the home. Art gives us inspiration and hope.
My practice has shifted to servicing my clients almost exclusively online – over email, text, facetime, and Zoom – this is not a drastic shift, as I am a firm believer that art should be accessible to everyone and the internet allows that; however, for new collectors, it can be challenging to buy art online. Trust and teamwork between the advisor and client are essential.
The hardest part has been the postponement of art fairs and gallery openings. I miss the energy, sense of discovery, and excitement.
Being an art advisor gives you independence. There are no boundaries or expectations relating to creative choice and there’s beauty in taking time to educate and create high-touch experiences for my collector clients.
You are a member of the Female Design Council. Could you tell us more about this organization and some recent work you have done with them?
Alexandra Freedman: When I went independent and launched Electra Projects in 2018, it was a difficult transition from a traditional workplace, where I was surrounded by like-minded peers. A fellow art world colleague suggested I join the Female Design Council, a membership-based, leadership organization open to all womxn in the design industry. After attending a meet-and-greet event, I recognized the value in their network of entrepreneurs and professionals who work across disciplines relating to design in which there is a unique synergy between the scope of my advisory practice and those of the designers, especially interior designers with whom I seek to collaborate.
Female Design Council produces insightful experiences and events which, unfortunately, have been curtailed by the pandemic this year. They’ve gracefully transitioned to a digital platform and are offering their members much-needed support and guidance during this trying time. Last fall, I attended an event at R & Company, the iconic art and design gallery in Tribeca, hosted by the gallery’s archivist, an FDC member. We had a behind-the-scenes tour of their archive library which was absolutely fascinating and unique. It was truly remarkable to take a step back and just listen to the chatter between members, and hear ideas, whether creative, personal, or business-oriented, buzzing between womxn.
There’s a beautiful connection between Latin America and Modern Art. … There was a confluence of international styles that served as a catalyst for creation in art, design, and architecture. We can refer to the significant and influential bodies of work by artists such as Jesus Rafael Soto, Wifredo Lam, Ana Mendieta, and Lygia Clark.
How has your Latin American background and education/experience with Modern Art influenced how you cultivate interests with your clients?
Alexandra Freedman: My mother is Peruvian and my father is American, so I benefited from a hybrid perspective that was both American, by definition, and global. I was born in the States and grew up outside Philadelphia, so while I appreciated my Latin American roots, I also recognize that I am somewhat removed from that heritage and believe I have a responsibility to educate myself from both perspectives.
Spending time in Peru has given me the opportunity to explore and understand the Latin American art world, its collecting culture, and its emerging art scene. I really enjoy working with contemporary Latin-American focused galleries, stateside, and love including Latin American artists in my proposals. My clients have diverse, global backgrounds and are curious about integrating the culture and traditions into their collection.
There’s a beautiful connection between Latin America and Modern Art. The movement swept across Latin America, including the Caribbean, when artists and artisans from the region, became increasingly global, traveling to Europe, North America, and Africa. There was a confluence of international styles that served as a catalyst for creation in art, design, and architecture. We can refer to the significant and influential bodies of work by artists such as Jesus Rafael Soto, Wifredo Lam, Ana Mendieta, and Lygia Clark.
While my eyes are constantly looking for, and learning about, emerging talent, and I love supporting young artists, I often return to looking at and reflecting on Modern Art and the history, and related movements, surrounding the time period. Modern Art is timeless and it can function as a tool to help us better understand our past. From a collecting standpoint, Modern Art is more accessible than you think and I believe it provides a wonderful foundation for any collection.
Now, more than ever, it’s not only important to me, as an art advisor, to suggest a variety of artists with diverse backgrounds and messages to my clients, it’s truly my responsibility.
Who are some of your favorite contemporary female-identifying artists right now and why?
Alexandra Freedman: I recently saw Jo Baer’s “The Risen / Originals” exhibition at Pace Gallery and was really moved by her evolution. Here’s a woman who made her name as a Minimalist artist in the 60s–70s, a time when it was challenging for female artists to be accepted and recognized in what was a male-dominated industry. One of her early series of paintings, now entitled “The Risen”, was created, documented, and subsequently destroyed. There was a radical shift in her life and style: she left the United States and turned to creating figurative work, a complete departure from minimalism, the style she was most associated with. For years, Baer created image-based art, much of it is grounded in mythical iconography, and she continues to do so. It was only until 2019, at 90 years old, that she revisited abstraction and felt inspired to reconstruct the paintings from “The Risen” series.
I’m also swooning over works by Tahnee Lonsdale, Gahee Park, Julie Curtiss, Hilary Pecis, Jesse Mockrin, Amanda Baldwin, Hiejin Yoo … the list goes on.
How does Electra Projects provide equitable opportunities for people of color and womxn?
Alexandra Freedman: Now, more than ever, it’s not only important to me, as an art advisor, to suggest a variety of artists with diverse backgrounds and messages to my clients, it’s truly my responsibility. I aim to include more black, Latinx, Asian, Indigenous, female, LGBTQ artists in my marketing initiatives–like my newsletter or on my Instagram–in addition to acquisition proposals to my clients.
Over the past few months, there has been a growing interest among my clients to learn more about black artists and how they can support artists of color. Even if these clients don’t end up purchasing, I strive to educate and raise awareness, as promoting an inclusive narrative is as important as supporting their respective careers. I’ve worked to develop a thoughtful list of black-owned galleries, emerging and contemporary artists of color, etc. I want to be a useful resource of information but also recognize that the work is only just beginning. The onus is on me to keep raising the bar, learning as much as I can from a connoisseurial standpoint about who is creating meaningful art today, and also recognizing where my own blind spots may exist in order to build a more expansive understanding of the art world today.
Louisa Warfield
ART CONSULTANT
I am an Art Consultant and Interior Art Advisor with over 15 years experience in the art world. I offer bespoke, beautiful art sourcing, art consultancy and art advice for private clients, interior designers and friends. Strong design eye combined with creative flair. A number of projects have been featured in interiors magazines and blogs. I pride myself on my open and accessible style and love nothing more than demystifying the art world for clients. Find more about this on my Instagram page.
Skilled in Art Consulting, Art Collecting, Art Sourcing, Art Styling, Art Advisory, Art Hanging.
My second career is as a discrete, private family business assistant for an UUHNW family. I run the family office, a number of significant investment properties (> £40mill) and all projects associated with private family office. Cost saving, process efficiency and problem solving are key strengths.
Skilled in Contract Negotiation, Complex Travel Itineraries, Luxury Holiday Planning, Investment Property Management (Interior Renovation, Design, Maintenance, Tenancies), Cost Saving, Personal Concierge, Children’s Activities and Scheduling, Art Collection Management and anything else I am asked to do 🙂
Masters in Geography from University of Oxford.
Call me on 07855 803509.
Email on louisa@louisawarfieldart.com.
Check out louisawarfieldart.com
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Holly Baxter
ART CONSULTANT
Holly Baxter is the Founder and Principal of HBA Art Advisory and an Executive Member of the Association of Professional Art Advisors (APAA). She also serves as Executive Director of Art in Protest, the Human Rights Foundation’s international program supporting artists who advance human rights through their work.
Holly has advised some of the world’s most respected private collectors and held leadership roles with a range of influential arts organizations. She has served on the Board of Directors for Gray Area Foundation for the Arts and SF Camerawork, the SECA Committee at SFMOMA, the National Advisory Board of Artadia, and the Curators Council of LA><ART.
Earlier in her career, Holly conceived, launched, and directed RH Contemporary Art (RHCA), the contemporary art division of RH (NYSE: RH). Under her leadership, RHCA introduced a new generation of artists to global audiences through an innovative digital platform, a 28,000-square-foot New York gallery, and an international artist residency program in Brooklyn.
Known for her discerning eye and deep commitment to cultural dialogue, Holly’s practice is grounded in connoisseurship, strategic insight, and a belief in the enduring power of art to inspire, challenge, and transform.
Caroline Scott Low
ART CONSULTANT
Caroline received her BA in Art History and studied abroad in Paris, France, and Florence, Italy. She continues to travel nationally and internationally, expanding her network of art acquisitions.
With her Fine Art consultation, Caroline acquires artwork that elevates the clients’ spaces and simplifies the curating process. She assists clients with curating art to build an extensive collection, the beginning foundation of a collection, or individual pieces for their home or office. Her team specializes in Contemporary and Modern art.
Since she was in college, Caroline has been a devoted philanthropist, sitting on many boards and Chairing annual fundraisers. She has served on the Council of the Asian Art Museum for several years and chaired their annual family event, “Once Upon a Time In Tokyo.” In addition, she collaborated on the inception of the Kids and Art Foundation and worked with the foundation, planning its first annual Fundraiser. Her passion for art intersects with her dedication to children’s well-being and their ability to thrive in the art experience. Caroline is on the Board of Trustees of the Monterey Art Museum as the Development Liaison and continues working on its Annual Fundraisers.
Caroline lives in the San Francisco Bay Area with her husband, two children, three dogs, and a bunny.
Christine Minas
ART ADVISOR
Christine’s first private client was a friend who asked her to reinstall an existing art collection to give an old home an “art refresh.” Soon afterwards, a museum foundation asked her to take a group of their patrons through Art Basel Miami Beach and other fairs during Miami Art Week. In the near decade that has followed, relationships and referrals have continued to develop. Today, collaborators include private collectors with expansive collections, residential architects and property developers.
No matter the project or the client, the fundamentals that drive her are always the same: a dedication to client goals, curiosity, discernment and, whenever possible, creating delightful experiences for clients.
Prior to starting her own firm, Christine spent over 15 years working for some of the finest international museums and commercial galleries, including the Frick Collection and James Cohan Gallery in New York, the Canadian Centre for Architecture in Montreal and the National Gallery of Canada in Ottawa.
A Los Angeles native, she is a classically trained art historian. She holds a bachelor’s degree in the History of Art from University College London and a master’s degree from the Courtauld Institute of Art in London. Today, Christine is based in New York and Paris.
Christine is an Executive Member of the Association of Professional Art Advisors (APAA), a non-profit membership organization of the world’s leading art advisors, curators and corporate art curators. Founded in 1980, the APAA is the only standard-setting organization for the practice of art advisory and is dedicated to promoting standards of connoisseurship, scholarship and ethical practice in the profession, and to increasing public awareness of the role and responsibilities of reputable art advisors.
Skarlet Smatana
ART ADVISOR & CURATOR
SKARLET SMATANA
Throughout her career in galleries and independently, Smatana has built some of the most important collections worldwide and advised prominent institutions in the United States. She often partners and collaborates with major public institutions and private foundations worldwide to promote publicly exhibited collections as well as philanthropic and lending initiatives to support contemporary artists. Smatana has co-organized solo exhibitions of artists including Jeff Wall, Jenny Saville, Charles Ray, David Hammons, and Rashid Johnson, as well as a two-person show of Georg Baselitz and Paul McCarthy.
Skarlet Smatana Each of these exhibitions has been accompanied by a monograph featuring scholarly essays by acclaimed writers and curators. Before joining the George Economou Collection, Smatana worked at the Peggy Guggenheim Museum in Venice as well as at leading contemporary art galleries, among them Pace Gallery, New York; Richard Gray Gallery, Chicago; and, as director, at L&M Arts, New York. Smatana has an MA in art history, theory, and criticism from the School of the Art Institute of Chicago, focusing on postwar and contemporary art and is an accredited member of the Association of Professional Art Advisors.
