By Christina Nafziger

When it comes to the art world, there are many arenas that seem so mysterious and even cryptic, like a locked gate that no one tells you how to open. Like pricing your work and approaching a gallery, there are some things that are just not taught in art school. In my experience, one of the biggest ‘unknowns’ of the art world is the corporate side of the coin. How do artists obtain commissions? How does an artist get hired to create public art? How should an artist form a relationship with corporate clients, such as hotels or local businesses? One answer is both simple and convoluted: art consultants.

Before working in the corporate art world myself, I could not have answered these questions. It was during this time I met the multitalented and knowledgeable curator and corporate art consultant Michelle Ruiz. In this interview, Michelle shares her knowledge on connecting corporate clients with artists, gives us a thorough breakdown of the “Do’s & Don’t’s” of working with consultants and clients, and generously offers advice on how to break into this part of the market. Join us as Michelle takes us through her impressive career path in the arts, how she broke into the field, and how she merges her unwavering passion for supporting local artists with her corporate projects.

What got you interested in arts management? Tell us a little bit about how your love for the arts led you to your current job as a corporate art curator.

My curiosity in the arts started at a young age. To highlight a couple of moments in my early timeline, the extra curricular art programs that I enrolled in at the National Museum of Mexican Art and Gallery 37 within the mural department (a paid apprenticeship now known as After School Matters) deeply influenced how I navigated my career path. Both programs had a heavy emphasis on murals, which quickly became my first love early on. In addition to learning the fundamentals of murals and creating public art at a young age, I was surrounded by remarkable mentors, dedicated educators, and practicing artists. These included Juan-Carlos Perez and Mirtes Zwierzynski, just to name a few. Both artists are key industry leaders who are now dear friends and part of my support system.

When entering college, I knew I wanted to pursue the arts, but I did not know in what way exactly. I came across a Visual Arts Management program that was offered at Columbia College Chicago, and it felt like a natural fit based on my interests. This program highlights the business side of the art world, with a focus on museums, art fairs, galleries, auction houses, and alternative spaces. Classes were often held at a museum or institution with the intention of chatting with industry professionals about day-to-day operations. The goal was to understand how each department worked together and with their respective stakeholders. I really enjoyed dissecting the business side of each market segment. The majority of my classes were business focused with a creative edge.

A year after graduating, I started an internship at Chicago Art Source managing their inventory, assisting with art searches, and gallery sales. January of 2021 will mark my 10 year anniversary with Chicago Art Source, and I am now based on the art consulting end of the business as a Project Manager specialized in curating art collections for our corporate clients. I have really enjoyed discovering and collaborating with artists from all backgrounds and bringing their artwork into unique spaces such as hospitals, hotels, residential complexes, and corporate offices. Successfully matching artists’ artwork to our clients’ vision is a creative journey that I love to embark on, and when I am able to curate a collection or initiate a commission to enhance the space and amplify the artist's work, the time of the installation is the most gratifying.

Many artists work with galleries, individual collectors, or mainly engage with their audience online. How would you recommend artists approach working in a more corporate environment with art consultants and designers? What advice can you offer artists who are looking to break into this area of the market, or who are ready to make this step in their career?

For those who are making their first step in their career, I would recommend preparing the essentials that are needed to navigate the art world: artist statement, bio, cv, professional photos of your available work, website, and price guide. This can all be included in a press kit or pdf that can easily be shared with industry professionals.

For those who have gallery representation and connect directly to collectors already, but are looking to expand further by working with art consulting firms or interior designers, I do have a few tips:

1. Connect. The typical entry point into corporate collections is through art consulting firms and interior design firms. There are times when architects, developers, or building managers work directly with artists for one or two pieces, but in many cases when an art collection is needed, that is when an art consulting firm is hired to understand the space, vision, budget, and manage the art curation, art acquisition, placement, framing, delivery, and install. Seek out local and national art consulting firms and interior designers. Take a look at their case studies on their website to get a sense of their completed projects and who they have collaborated with. If you like their work, introduce yourself via email with a general introduction, cv, artist statement, available inventory from your studio that is not committed to a gallery, and a price guide. Also, let them know if you are open to commission, as this route is often taken due to a specific size that is required for a client’s space. The Clarion List is a great industry resource to consult when seeking new working relationships.

2. Develop an email database. Once you start connecting and expanding your network, keep these key industry partners in the loop with your work. Send bi-monthy or quarterly emails with studio updates, new works, completed projects, install shots, etc. This is helpful for me personally, as I am taking in new projects on a weekly basis. I am working on an average of 5-10 projects at once and there are times when the direction changes, so these emails have been a great way to stay in the loop with new studio work.

3. Develop a Series of Work. There are times we are filling long corridors or developing a salon wall that calls for a series of work that relates to each other in terms of size and style. Consider developing a series (i.e.: 12 pieces at 30 x 30”) within the same style but different compositions.

4. Experiment with Scale. Oftentimes I am sourcing work for focal points or high-traffic areas that call for statement pieces that are often large in terms of scale. In your respective studio practice, try pushing the scale of your work to see how it feels/looks. I understand this can get costly, but it is good to experiment without a deadline on the calendar and take the extra time to research quality materials to avoid unexpected hiccups.

What are some “dos and don’ts” artists should know when working with a client/consultant?

DO: Set consistent pricing for every art consultant or interior designer that you are working with. Pricing should not fluctuate.

DO: Professionally document your artwork or higher a photographer. We often sell artwork from a digital catalogue and a poor photo can cost us the sale of your work.

DO NOT: Present artwork to us that is committed to a gallery that represents you. We prefer to work directly with the artist and pull from the studio inventory. If you do have gallery representation, respect that relationship, and review your mutual contract with the gallery before seeking partnerships with art consultants and interior designers. If you do not have an exclusive contact, you should be clear to pursue additional partnerships.

*Note: Art consultants typically do not carry an inventory. Their goal is to sell your work or initiate commissions, so do not try to send work unless it is a small sample for us to share with clients due to the uniqueness of the technique, surface texture, or something that can not be shared via a photograph.

I understand you are also Curatorial Director at Berwyn Public Art. Tell us a bit about this organization. What do you feel is the role of public art now during these times?

I was invited to join the Berwyn Public Art Initiative (BPAI) as a Board Member and Curatorial Director this past January shortly after meeting the president Norman Alexandroff and the board of directors. This organization is based in Berwyn where I currently reside, which is a west suburb of Chicago. We work closely with local businesses and building owners, as well as local and international artists by engaging them in commissioned murals and public sculptures. Within the first year, this non-profit was able to facilitate and sponsor six murals, which has activated our Historic Depot District in a vibrant way. In addition, BPAI fosters the art community by organizing and curating pop-up galleries to amplify the studio practice of local artists.

Public art can be very impactful when it is intentional, inclusive, inspiring, and promotes dialogue. A number of public works have surfaced during this challenging time, some are memorials related to COVID-19 and others support the Black Lives Matter movement. The role and power of public art is truly vital to the narrative of our time. It unites us and offers an opportunity for individuals (not only artists) to show support and solidarity. Public art will not solve the problem alone when referring to systemic racism, social justice, or police brutality specifically. However, it can stop us in our tracks, help us reimagine a better future, refocus us as global citizens, and spark a rhythm of change that requires action on our part. It should serve as a reminder to be more human, fair, kind, and compassionate.

BPAI is currently exploring mural concepts with the community to honor COVID-19 victims and also amplify the Black lives Matter movement. The dust may seem like it has settled, but there is much work to be done to continue this ongoing conversation and forthcoming change.

As a curator and project manager, how do you build your network of artists, both locally and nationally? Has this changed since COVID-19?

It usually starts with seeing artwork in person. Prior to COVID-19, I would attend local gallery openings, open studios, schedule private studio visits, sit in artist talks, attend local and international art fairs. Artists do reach out to me in a number of ways as well (Instagram, LinkedIn, Chicago Art Source, or via a referral) It is definitely a two way street. Instagram has been a great tool that I use regularly and has helped me identify national artists easily via hashtags.

Now that we are in COVID times, I am not traveling like I used to (which was an average of 3 industry events per week!). I am relying heavily on online research, phone calls, instagram, and larger platforms that carry such as Saatchi Art and Artsy.

Tell us about a time when meeting an artist has led to a longer relationship, resulting in future projects and/or collaborations?

I do have many instances where upon meeting an artist, the working relationship blossoms into a mutually supportive relationship where we are able to intertwine our respective practice into each other's projects as a collaborator or supporter.

For example, artist Juan-Carlos Perez is 15+ year friend and mentor who was one of nine featured artists for the community project Won’t You Be My Neighbor, that I co-managed in 2018. The focus was to use artwork to spark dialogue around gentrification within the Pilsen community, a Chicago neighborhood that is facing rapid cultural changes. He curated and led conversations with the community that was inclusive and enlightening to the gentrifiers.

Josue Pellot is an artist that I connected with through a mutual friend, shortly after, we collaborated to design and fabricate a custom large scale commission for a new hotel lobby. Now he is someone I am consulting with along with Katia Perez for a BLM mural in Berwyn.

Elsa Muñoz is a painter that I connected with about a year ago at a Latinx Social Club. This was the first studio visit that had me in tears due to the narrative behind her work, which resonated deeply with me. We became intertwined and supportive within each other's projects rather quickly, and both traveled to Art Basel this past year to take on the major art fairs. Her work is being proposed to a major healthcare client at the moment.

There are many instances like this, and for me personally, I like to take an authentic approach when building a working relationship. It is not always about business. A sense of community and mutual support in each other's projects can go a long way, and likely down the road, future collaborations will present itself. Just like this invitation to share my story with the Create! Magazine community, Christina, your role as a contributing writer and former colleague has played a significant role in my network and community as well. Thank you for all that you do!

Along with working with corporate clients, you also have other curatorial projects you’ve been working on. Tell us about your most recent venture Art Activation: Visual Artist Stimulus Initiative, which you started in light of the impact of COVID-19 on artists.

The Art Activation: Visual Artist Stimulus Initiative was developed in response to the change in reality due to COVID-19, which put many full-time artists in a very challenging situation as they faced postponed and canceled projects, exhibitions, and commissions. The annual income projected for full-time artists was no longer promised, which laid heavily on me because I know how difficult it can be to line up projects, exhibitions, and commissions on the other side of the spectrum in order to thrive in this industry. Like many people, I was put on part-time status for a period of time due to the lack of project work. This gave me time to reflect and touch base with my artist community, and through a conversation with Chicago-based artist and activist Andy Bellomo, we developed the idea to amplify artists of color and artists from the LGBTQ community— a community that is often marginalized and underrepresented. I published a catalog early April that features twenty-two artists and a selection of artwork from their available inventory. All of them are open to taking in commissions in their respective style. We have been cross-promoting this catalogue to keep this collection of work criculating as a creative solution for private and public collections, and artists keep 100% of the sale for the artwork listed in this catalogue

To support Art Activations: Visual Artist Stimulus Initiative:

For collectors that have the means to purchase art, or for those in a decision making position to purchase or commission art for your office space or public space, please consider acquiring or initiating a commission or even a mural from one of these artists to keep them thriving during this turbulent time.

Each one of them brings an unmatched style to the forefront, their personal journey and narratives as an artist is truly inspiring. Consider becoming a collector!

Link to catalog: https://www.andybellomo.com/creative-stimulus