interview
and what the artist is trying to say with what he or she has done. you have a show of artist X and think, This piece would be
the world. There’s not a lot of foot traffic that comes through
not from politics.” What do you think of that? JK: Yeah,
perfect for Client Y’s hallway or guest house. Do you tell the
the gallery, so through participating in art fairs I can increase
I think that’s true. When you think about politics, and I mean
client your thoughts? JK: Yes. The more I get to know and
the exposure for the artists and develop new contacts.
in the pure sense of democracy, it comes from the people
interact with a client or a collector the better I understand
upwards. And so we the people elect our representatives,
their aesthetic and what they’re attracted to and what
TM: The importance of reviews? JK: It is important to
our politicians, and they’re supposed to work on our behalf.
they’re not attracted to. So if I see something appropriate or
have a critical response to art and to exhibitions, whether
It’s not that way any longer. [Laughs.] I think that social change
I have an exhibition planned that I feel they would enjoy, then
it’s in a gallery or in a museum or other spaces. Exhibitions
does come from the people. That’s where art comes from,
I would definitely give them a call to let them know about it.
can’t exist in a vacuum, without any communication about
that’s where music is coming from, that’s where writers are
the works, without reviews. In my mind, discourse implies
coming from. So when the people finally come out and say,
TM: So you do that as a service? JK: Of course, but I wouldn’t
constructive discussion or criticism, both good and bad.
this is not right, we don’t want this, the politicians finally pay
necessarily say, “Oh, I have a painting and it would look great
And that creates more interest in what I as a gallery owner
attention and make some changes. But the politicians are not
in the powder room.” It is more about the aesthetic of their
do, and what a museum curator is doing. So in that regard
able to dictate down and tell us what we need, although they
collection and whether or not I think a particular work
I think it is really important to have a conversation.
try to do that all the time. But I do agree with John Trudell’s
would fit into that.
statement. TM: Do you feel like you’re kind of a one-man show? JK:
TM: Speaking of collections, considering the work I’ve seen
No, I have a very good staff. Stephen Husbands has been
TM: What are two or three exciting shows you have coming
in your gallery over the years, would I be surprised by the
with me since the opening of the gallery. Stephen has been
up next year? JK: There are several this summer, the first
art in your home, which, I should say, I’ve never been to? JK:
very loyal and I owe much of the gallery’s success to him.
being a show of Nic Nicosia’s new work. Opening at the end
I don’t think so. Obviously I have works of art by the artists
It takes hard work by many people to run a gallery; no gallery
of June. It will be his third show at the gallery and will include
I work with and admire, so I don’t think you would be too
owner can do it alone.
a very theatrical installation along with new photographs.
surprised. However, I do have a small collection of Acoma
The other will be a show for Robert Kelly, which opens in
pottery, so that might be a surprise to you.
TM: How about short takes on a few names? JK: All right.
TM: Do you typically buy a piece from each of your shows?
TM: Irving Blum. JK: Irving is a friend. I’ve known him for
show I’m pleased about is Aldo Chaparro. Again, it will be the
I know that many galleries used to do that. JK: If I have a
several years and he’s a great personality. He has been
first time I’ve shown his work. He is based in Mexico City
commitment to the artist, then it would be good on my part
involved with the art gallery scene and collecting world for
and he makes sculpture. Typically they hang on the wall but
to buy one for myself. And over the years I’ve tried to do
many, many years and I admire what he’s done.
sometimes they’re freestanding, and I think there are people
August. This will be the gallery’s first show with Robert, and I am pleased to be able to present the work. The other
that, but in some cases the cash flow does not allow me to do so, but it always has been a goal of mine.
here in Santa Fe who will be very interested in the work. TM: James Drake. JK: Yes, James is also a friend, and he
I am also working on an exhibition of works by Cuban artists,
recently joined the gallery. He’s very sincere, and over the
many of whom I recently visited in Havana.
TM: Are there one or two pieces that you have at home
last twenty or thirty years has really created a very steady
that you would never sell no matter what? And if there are,
career. I admire the dedication he has.
which ones are they? JK: Oh yes, I have a piece by Sherrie Levine that I would never sell.
TM: And one last thing—any regrets? JK: Oh, everyone has regrets.
TM: Ken Price. He died, sadly. JK: Yes, Ken was also a friend, and I had two shows of his work over the last ten years. He
TM: One of her photos? JK: No, it’s a three-dimensional
was very self-effacing. At the end of his life he was suffering
work, not a photograph. I love having it and she’s become
greatly from a cancer that he was dealing with, but he never
a good friend. She lives here part of the time, and that’s an
really complained about it—he was very noble. And I admire
important connection for me, so I would never sell that.
his work greatly. He had an uphill battle working with the
Though I actually don’t have that many. [Laughs.] D Guy Cross is the co-publisher and creative director of THE magazine.
ceramic material, which a lot of people have a prejudice TM: Any plans for a Sherrie Levine exhibition soon? JK:
against. But he persevered and stayed true to his
Maybe next year. I had a show in 2007, but I haven’t planned
art and now his work is much admired.
one for this season. TM: Richard Tuttle. JK: I very much enjoy TM: Do a lot of clients want to meet the artists? JK: Not
Richard and how he thinks. Again, getting
necessarily. There are some collectors who don’t feel the
back to the earlier point I was trying to make
need to meet the artist. Some artists might have difficult
about art that inspires me, Richard makes
personalities, and they don’t really want to experience that.
works of art that make you stop and think:
However, I think that in most cases clients do enjoy the
how did he come up with this idea? What is he
opportunity to meet an artist whose work they admire, but
trying to say? And with Richard you’re puzzled
in some cases it’s not that important to them. It just depends
all the time. He frequently changes his process
on the individual. And I might add that some artists don’t
and the result is extremely challenging. And
want to get to know the collectors, so it works both ways.
besides that, his art makes me smile.
TM: Are art fairs important? JK: Yes, they are. They are
TM: John Trudell—a Native American artist,
relevant for a gallery like mine because I’m in a very small
musician, writer, and activist—wrote, “sSocial
town, and it’s not easy to get to Santa Fe from many places in
change will come from culture, art, and music,
| j u L Y 2012
THE magazine | 51