Have you ever wondered how the collaboration between gallery and artist works? We spoke to Andrew Krakow of the Krakow Witkin Gallery in Boston who represent a lot of well known artists.
Can you tell us a bit about the gallery? What is the philosophy? What do we have to know?
Krakow Witkin Gallery began exhibiting artists in 1959 and has been in its 10 Newbury Street Boston location since 1983. The gallery’s prior incarnations are Barbara Krakow Gallery, Harcus Krakow Gallery, Harcus Krakow Rosen Sonnabend, Parker 470 and Carriage House Gallery. Barbara and I have been partners for almost 15 years now.
Krakow Witkin Gallery has a commitment to an extensive, yet focused group of artists known as part of the movements commonly called “Minimalism” and/or “conceptual art,” along with younger artists who have come to renown since the 1960s with reductivist aesthetics. The gallery’s exhibition program, in normal non-Covid times, runs three shows simultaneously with six to seven rotations over the course of the September – July season. During each cycle, there is one larger show, one smaller show and one show of a single work. This juxtaposition of types of exhibition gives viewers three different rigorous contexts with which to view work and consider various ideas of presentation.
We are available to assist the public in many ways – from discussing the art, to issues of evaluation, purchasing (the gallery has a deep inventory of art available for purchase from $1,000 and beyond), framing, shipping, insuring, installing, conserving and even de-accessioning (selling). The gallery encourages and welcomes all viewers by demystifying contemporary art and providing an educationally-rich, friendly, open and welcome environment in which to observe, study and learn about the art and artists.
Furthermore, as long-standing members of the greater Boston community, the gallery is devoted to participating in and supporting local communities. We would be happy to suggest activities, people and places to explore and/or connect with in the greater Boston area.
Peter Downsbrough, Or, 2017
How does a gallery decide which artists to collaborate with? And how does that go?
We do not make any statement about “good” or “better” or “best”. We simply choose art and artists that we believe in and want to support. How that comes to happen is different in almost every situation.
Are there certain agreements between the gallery? Such as the number of works to be made? What does it mean to be represented by a gallery? Is the collaboration temporarily?
We do not work with preconceived notions of what the relationship means, except that it is a partnership where there has to be trust, respect and mutual understanding.
Abelardo Morell, Wood Chunk on Pieter Bruegel the Elder Book, 2019
Is an edition decided together? Or is that a choice of the artist? We do not publish many editions, but those that we do are decided by the artist with our suggestions, when asked for.
Does the gallery also provide financial support to its artists? Such as residences or materials? Rent studio, transport? The support we provide is the infrastructure of our organization. We have a staff with diverse areas of knowledge and are available for our artists in many ways.
How are you promoting an artist?
The ultimate promotion is working with the artist and presenting the work to a public.
Liliana Porter, Actualidades/Breaking News, 2016
If you represent an artist, is he connected to your gallery and no other?
Some are, others are not.
To who does a gallery sell? Individuals, companies, other galleries…?
We sell to many different types of people and organizations - museums, individuals, colleagues, artists and many others.
Do you have some advice for artist on how to be represented by a gallery?
I can offer different types of advice and apologies if my words are misdirected
Have you ever wondered how a gallery works? We spoke to Andrew Krakow of the Krakow Witkin Gallery in Bosten about the collaboration between gallery and artist.d artist. artn ist. artist.artist.rtist.tist.ist.st.t.
Beyond that, I think the most important thing an artist can do is be part of a community. Most likely, colleagues are the ones who will helpful, more than a truly external force, in helping an artist see/get opportunities towards the beginning of one’s “career”.
Most important? TO MAKE THE WORK!
Do you want to share something else with us?
Thank you for your interest and questions.
You're welcome!
Do you want to know more about the Krakow Witkin Gallery? Be sure to visit their website here.