Julie Novakoff
Catlin Moore grew up with Mark Moore Gallery, watching the Los Angeles art scene reinvent itself as something more than just New York’s little sister. Anat Ebgi recently moved out to L.A. from the prestigious curatorial program at Bard, calling herself the Willy Wonka of The Company, her Chinatown gallery. Two interviews by L.A. contributor Julie Novakoff.
Catlin Moore, Director of Mark Moore Gallery
This interview was conducted at the Mark Moore Gallery in Culver City.
Julie Novakoff: Did you always see yourself working in a gallery?
Catlin Moore: Yes. I have essentially grown up with the gallery. After working for a number of other art organizations like the Beall Center for Art + Technology and PULSE Contemporary Art Fair, I decided I wanted a more direct way to interact with artists. I started officially working at the gallery in 2008 as an Accounts Manager. I gradually worked my way to the position of Gallery Manager and then late last year was promoted to Director.
JN: What prompted the gallery’s recent move from Santa Monica to Culver City?
CM: Mark opened his first gallery in Long Beach over twenty-five years ago. In 1993 the gallery relocated to Santa Monica where he stayed for about twelve years before our recent relocation to Culver City. We found a perfect building for the gallery and seized the opportunity to purchase it. The city of Culver City has made a concerted effort to distinguish itself as an arts center and is very supportive of developing a strong gallery community. I must say, the gallery district has come together in a user-friendly way; visitors can park once and walk everywhere. Additionally, Culver City galleries tend to be incredibly supportive of each other in attempting to coordinate their opening schedules. Santa Monica was good to us for over twelve years, but to be so centrally located and surrounded by a consistently gentrifying arts mecca was the obvious next chapter.
JN: How would you describe your gallery program? How has it developed and where do you plan to take it?
CM: Since its inception, our program has been about evolution. We’re drawn to artists who individually uphold a sense of advancement in their work and at the same time maintain a sense of accessibility to our audience. As a result, our program has naturally matured and adapted to the trends our artists bring to the table. However, we’re also constantly striving to remain abreast of emerging talent that compliments our existing family of artists represented and that will help facilitate a dialogue between our veteran and fledging audiences.
Showcasing established artists such as Tim Bavington, Vernon Fisher, David Hilliard and Julie Heffernan alongside rising talent the likes of Cordy Ryman, Josh Azzarella and Allison Schulnik bespeaks a program that values both longevity and progress. That’s a dynamic I feel is critical to maintain and is my ultimate goal in shaping the years ahead.
JN: Having grown up in L.A. as part of the Mark Moore gallery you must have a particularly insightful perspective on what makes the L.A. art scene so unique. Can you address this point?
CM: L.A., much like contemporary art, has a natural affection for reinvention. This works to its advantage as far as keeping gallerists and artists on their toes. The city also tends to embrace risk-taking and unconventional models more so than other cities do. For many years L.A. had the stigma of being New York’s “little sister.” The Pre-Ferus-Gallery-era was more concerned with mimicking the formalism of Chelsea’s history and attitude in order to assert its validity. With the advent of the Chicano Movement pulling art out of the institutional space and into the streets and the development of virtual marketing tactics from the entertainment industry, L.A. eventually seemed to shift its business methodologies and artistic content from a historically niche practice to a diversified platform.
JN: Can you expound on L.A.’s diversified platform?
CM: Instead of targeting only the affluent few, the tip of the audience pyramid, L.A. seems to operate on more of a flipped system. Appealing to a broader base through interactive outlets like Facebook, Twitter, Wordpress, and Tumblr results in a trickle-down effect that ultimately reaches the tip of the pyramid without alienating the foundational audience that will grow along with your brand. Moreover, the enthusiasm and “buzz” that builds from a wider audience serves as an honest indicator of what people should be paying attention to; what they want to be a part of early on.
Does that mean that a print ad in Art Forum is less legitimate? Not at all, but it should be viewed as a facet rather than a cornerstone for recognition. L.A. galleries seem less standoffish to this concept, and I think that’s what’s ultimately helped define the city as a distinct arts center.
Anat Ebgi: Owner and Director of The Company
This interview was conducted at Via, a local Vietnamese restaurant in Chinatown frequented by many in the L.A. arts community.
Julie Novakoff: Your gallery, The Company, is going on its third year of operation in Chinatown. Can you tell us how it all began and what is behind the name of your gallery?
Anat Ebgi: I moved to L.A. in 2008 shortly after completing my master’s degree from the Center for Curatorial Studies from Bard. My vision was to work in a museum, but in 2008 the country was in the height of the recession and, with museums laying off staff left and right, it no longer seemed as if this was in my cards. I took a position at a gallery that at the time was based in Chinatown. It took only two months for me to realize this was not going to work: I needed to work for myself and only myself. So, I decided to take the plunge and open up my own gallery.
The name of the gallery was meant to be a humorous riff on the current state of the economy, a reference to the financial collapse. I titled the opening show Human Resources and wrote the press release in the form of a memo addressed to all of our “employees” – artists. I apologized for the manner in which we had been treating them and promised to focus more on human resources. Hence, the title of the show was created. The show featured many artists that I had previously worked with when I was an independent curator in New York.
JN: How would you describe your gallery program? How has it developed and where do you plan to take it?
AE: Often I feel like Willy Wonka. I want to take people on a journey and provide them with a truly memorable experience. In particular, I am drawn to work that is seductive, smart and thoughtful. I tend to look beyond work that is purely academic or purely beautiful. For solo shows, my goal is to curate a show that tells a story- an autobiography of the artist. For group shows, I like to incorporate older generations of artists with emerging artists in an attempt to find truths within them all. All my energy is devoted toward supporting and promoting my current program. I represent both emerging and mid-career artists: Jen DeNike, Jesse Fleming, Alexa Gerrrit, Eli Hansen, Ali Prosch, Lisi Raskin and Sigrid Sandström.
In some ways I feel I can do more here with no established protocol in mind. I will admit that I came to L.A. espousing the attitude that New York was superior and more sophisticated. Now I realize that L.A. is riding its own wave. It has its own history and has fostered and nurtured the careers of many incredible artists. L.A. collectors are very smart and savvy.
JN: Let’s talk more about your gallery in the context of L.A. You are located in Chinatown, off-the-beaten-path to many. Chinatown attracts far less traffic than hot spots such as West Hollywood and Culver City. Was this ever a concern for you as a new gallerist?
AE: L.A. is a dynamic city and should have a lot of places to experience art. You have to travel to get anywhere in L.A., so why not come to Chinatown for an art experience? Art is not easy, especially contemporary art. But if you make the effort I’m here to explain it and help make the connection of art to your life. Let me put it this way: if there is a way to show people what they want to see, they will come to the gallery.
