Voices: Sean Horton, New York & Dallas

Future Fair: Online Journal, May 6, 2020

What are some common themes in your program?

 

Over the years some themes that have emerged in the gallery's program are regionalism, sexuality, religion and semiotics. I tend to favor artists working in rural areas and artwork that has an emphasis on materiality.

 

Name an artist you don't represent that are particularly drawn to and why.

 

As a lover of graphic design, I am a big fan of Andrew Kuo and his geo-abstract-info-graph paintings as well as his ventures into music, social media, DJ'ing, illustration and fashion. His underground brand Shrits, which is a collaboration with Pascal Spengemann, pays homage to the museum store in a lovingly humorous way.

 

Tell us about why you decided to open a gallery.

 

In 2006 the New York art world was still focused on Chelsea and a group of 4-5 galleries was emerging on the Lower East Side as an alternative. For very little money I was able to find an abandoned sneaker shop on Eldridge Street. I initially called the gallery SUNDAY, which seemed emblematic since Chelsea was closed on Sundays.

 

What are you busy working on right now?

 

Like many others I am actively questioning and redefining my role as an art dealer. With the industry’s shift away from shopkeeping, off-site projects and partnerships seem like an important way to expand our audience. For example, in Dallas we worked with the curator of Northpark Center, which has a great history of collecting, to realize a large-scale mural by Lucia Hierro.

 

Name a person in the art industry that you admire or look up to and why.

 

As a gallerist I appreciate art advisors who are responsive, well-researched and prepared. Lowell & Courtney Pettit are great examples of this approach – they are responsive to offers and arrive to appointments with a thorough understanding of the artist or artwork as well as their clients’ needs.

 

How can galleries collectively advance?

 

What would happen if there was more synergy between large and small galleries in the way that major record labels offer distribution and support to indie labels? Could mega galleries employ their resources to help smaller galleries keep their rosters in tact and grow together in ways that are ultimately more sustainable and profitable for everyone involved?

 

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