Samantha Levin is an artist’s agent, working in New York City.  Intrigued by her title, I asked her to describe what she does, how she works with artists, and the benefits of this type of relationship.

AS:  What is your background, and how did you get into the business of representing artists?

Samantha Levin and Artist Carrie Ann Baade

SL: I have a studio art degree in sculpture from the School of Visual Arts, and I’ve been immersed in the art world in various ways since graduating in 2001.  Most of that time I spent trying to promote my own artwork.

About four or five years ago, I began meeting some of the artists from the Pop Surreal and Lowbrow scenes.  Carrie Ann Baade was one of the first followed quickly by Molly Crabapple and Travis Louie to name a few out of many.  Much friendlier than most guarded gallerists, these networkers were easy and fun to meet. They were not only talented, but business savvy, and constantly looking for new ways to sell their art.  Many of these artists began asking me to help them sell their work and I’ve been doing so for three years now.

AS:  The recession has actually presented opportunities for you and the artists you represent. How does this work?

SL: Because of the recession, many old conventions and habits that ran the art world in the past no longer work.  Gallerists have been trying to find new ways to make a living and, as a result, are more open-minded towards ideas that they may have previously shaken their heads to.

One thing that has becoming more accepted is the use of alternative spaces or “pop-up galleries” which can have less overhead than a traditional white box.  One of the venues in which I put up exhibits is a bar called the White Rabbit. Such venues (bars, restaurants, cafes, etc.) generally have distracting décor, inefficient lighting and there’s more of a chance that art will be damaged while on display.  Because of this, they carry a stigma:  If an artist shows in one, they must not respect their work, so why should a collector?  The White Rabbit has white walls, the art is always hung safely and special lighting exists to let the artwork stand out.  This, combined with my use of the internet, helps me sell work and promote an artist’s career.  It’s still too risky for an artist who has been exhibiting in galleries for a while to show in any bar no matter how well put together, so I generally only exhibit work at the White Rabbit of emerging artists who are looking for their first solo exhibit or have not shown their work very much at all.

AS:  How many different artists have you worked with? Are your relationships exclusive?

SL: I’ve worked with quite a few artists on varying levels, adjusting to each depending upon what they bring to the table.  Some make a living from selling their work while others are just starting out.  There are a few with whom my relationship has become very strong.  While I have helped them, they have also helped me.

I do not feel comfortable with representing anyone exclusively.  Such a relationship would limit the control an artist has over their work and thus choke the reach their artwork could have.  There are very few occasions where an artist would benefit from an exclusive relationship with a gallery or agent.  An artist should be very careful about signing into such a relationship, and weigh all the pros and cons.  The most successful artists I’ve seen have several gallerists or agents working for them in different cities to promote their work.

"Undergrowth" by Caitlin Hackett

AS: What are the greatest benefits agents can offer to artists?

SL: An agent can find niches for an artist’s work that the artist may not have the time to explore.  Also, they often have a collector base to whom they can introduce your work.  They can also advise an artist as to where they might want to steer their career. It really depends on what strengths the individual agent has and what the artist needs.  Are they a blogger with many readers?  Do they have a strong collector base?  Who else do they work with?  Would they help manage an artist’s career if need be?

AS:  What are your current projects, and your future goals?

SL: Artwise, I have a wonderful schedule for the White Rabbit for the next few months showing the work of C. J. Stahl, Buddy Nestor, Erin Endicott and Tun Myaing.  My arts organization, Anagnorisis, is very excited to have been awarded a grant from the ISE Cultural Foundation for an exhibit entitled Another Roadside Attraction that will be taking place this fall.  I have interviews of artists in the works including Christian van Minnen, Travis Louie and Dan Ouellette.  I’ll soon have a new website up as well, at http://artanagnorisis.com

The future holds a lot of promise for me and the artists with whom I work.  I know it will be prosperous!