We had the opportunity to talk to a great personality, Ivar Zeile, art dealer, curator, the owner of + gallery, which is today considered one of the leading progressive contemporary galleries in the state of Colorado and the region.
NKR. Ivar Zeile, how would you describe yourself?
IZ. I am the owner and director of + gallery, a progressive venue that supports many of the leading contemporary artists living and working in Colorado. I am passionate about promoting talent from this region and try to support my artists in ways that break the normal model of gallery representation. Though I am fully absorbed in the visual art realm, I also enjoy having a community profile and supporting the broader realm of arts. I am obsessed by music and film, which could easily have been careers for me. NKR. Being an artist and an art dealer are two antagonistic figures. Tell us about your background as an artist, did it help you into the art business?
IZ. I personally don't believe in the model of the artist as art dealer, or at least feel that one must choose between the two in order to be successful. I've chosen to represent artists because the talent and quality that I have access to far exceeds my own artistic abilities and working with that caliber of artist is what truly inspires me. I do, however, believe that my background as an artist and designer has helped me to understand much better the conflicts and needs of artists in general and hopefully allows me to give them a better model to work with.
NKR. We know you own one of the greatest contemporary art galleries in Denver, + gallery. How would you characterize your activities as a gallerist/curator/art dealer?
IZ. Thanks, I appreciate being viewed that way! I feel it is hard to characterize my activities in a few words, but I believe that my pursuit in this business is based on honesty in regards to what a gallery can do in a region such as this, and what artists need to understand in relation to it or in relation to a global market. I have only been working in this capacity for 5 years now, and I feel that is a very short time to have any clear answers, but it's a good amount of time to create a workable vision that can be sustained while still encompassing many higher goals. I don't like to think that my reputation in this community represents much more than a first step towards creating a more expansive audience and collector base for my artists that should be well outside this particular city or region. NKR. What do you look for when buying a work of art? Whom, if anyone, do you listen to for advice?
IZ. Tricky question, as I mostly invest in artists that I represent when I can or have the ability to buy art. I know that may seem limited, but at my age and income it's the best I can do! Because of that, I only listen to myself in this regards, though if I were simply a consumer I would likely look to galleries similar to my own and really get into the character of the artist and which artists seem to really be hitting their stride. Each case can be very different, but I do find that I am interested in the artist as much as in the work they create oftentimes. Some artists are passive about their careers, and I don't find that to be of much interest to me personally, even if I like their work. NKR. Do you feel a sense of personal responsibility towards the artists whose work you collect?
IZ. Yes, absolutely! I feel that the only way for artists to succeed is for others to collect their work. Who collects their work may make a difference, it certainly seems to in other markets but maybe not so much here in Denver unfortunately, but I like to think that my own collection will one day represent something special that has a reach further beyond just Denver. It will undoubtedly take time, and a little luck or some good breaks, but that is what I believe in when it comes to my own collection.
NKR. What do you think about online galleries and projects like No Knock Room?
IZ. I think they are terrific. The ability to generate interest for artists and regions such as ours can seem to be a daunting task at best, it's hard to simply get our own small population to pay attention through the mechanisms that exist locally. Anything that may generate a new audience and is presented in ways that have more meaning is important to me.....I'm really a big believer in hearing what people have to say firsthand, just as this forum is doing right now! NKR. 2006 is a big year for Denver art scene. The new building of MCA |Denver and the expansion of Denver Art Museum are two huge architecture projects who will probably put Denver in the map of International Art pilgrimage. There must be a big fuss going on right now... we'd love to know more about it!
IZ. Well, it is definitely the focus of attention here in Denver, though one must always question the ultimate result of so much "buzz." It seems to have mobilized the town in interesting ways, but the reality is that most of the art community is worried that the building and museum level of projects will overshadow the individual and commercial efforts that have always been of high quality in Denver. The city seems to be working on support mechanisms that will allow for a greater community visibility for the arts, but all we can do is trust that it will come together and have some longevity. I am most excited about the long term prospects with projects such as the Clyfford Still Museum, which I think truly secure Denver's position as an important destination for the arts. The Mayor's office in particular, which was responsible for securing the Still Museum, has great intentions for changing the image of Denver and really is mobilizing their staff to affect change. Perhaps the timing for all of the current eforts in Denver really will have a positive impact, it certainly makes it more exciting to be here doing what we are doing right now. NKR. Tell us a bit about the current art scene in Denver, how does the American press treats it?
IZ. There are a few ways to look at press in Denver. On the one hand, we have the supposed luxury of having three active local art critics who cover a robust scene, which I've heard is great in relation to other cities our size. On the other hand, there is virtually no outside press interest that is looking at Denver on a continual >>>
basis, which is unfortunate. I don't really think that will change with the advent of the Hamilton Wing or the new MCA Denver, as it really requires success on the commercial gallery level to generate press interest because of marketing dollars. Hopefully in the long term, however, that may also change. NKR. Plans for the future? Is there anything you would like to share with us?
IZ. My goal is to be accepted into one of the major international art fairs such as Basel Miami, or at least one of the subsidiary fairs that coincide. I feel that this is one way to expose Denver artists to a greater market that values and truly collects contemporary art. Otherwise, I am trying to focus on my current stable and try to break some of my artists in other ways. Jenny Morgan seems to be hitting it big for us and I think has the potential to find a wider audience quickly. Colin Livingston has a tremendously exciting new body of work that I am so excited about and inspires me to think in different ways. Just yesterday I found out that he got accepted into the Western Edition of New American Paintings, so I'm encouraged even further by the possibilities with his new work. A number of our artists I think will really be hitting their stride in the next few years and I'm excited for their potential. Otherwise, I plan on continually challenging the market and keeping it fresh however I can and setting new goals. NKR. "Being talented is not enough. You got to have the right people around you." In your opinion, what are the chances for a young artist to survive in the art world of today?
IZ. I think young artists, or any artists really in this day and age need to be realistic about what it takes to be successful and what they can do to advance their careers. Being an artist may seem cool to a lot of people at a young age, but it's as hard an endeavor as any other choice in life. Just like it has taken the gallery five years of hard, and I mean really hard work to create a reputation, so the same goes for most artists. A reputation is different too from financial success and viability! It doesn't happen overnight, and you always have to think "what can I be doing that I'm not" as opposed to "I have done all I can." I don't know of too many artists that simply rely on their artwork to make a living, but the ones that seem to be advancing the most are the ones that have a daily studio practice, don't treat their representation lightly, and go to extra efforts to make sure that they are ahead of the pack. It's not easy, but keeping an open, honest dialogue and having realistic expectations are what I consider to be the road to success in this business.
