Art Advisers
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‘I never wanted to work in a gallery day-to-day because what I really wanted was that one-to-one time with collectors, working in their homes,’ Curry says.

Her favourite moment is when the art piece she had helped her clients source, is finally installed, where it integrates and becomes ‘part of the family’: ‘There’s a really tangible sense of emotion that can happen at that point.’ The effect such installations create is not only aesthetic, but also ‘formative’, she says, adding that, ‘They are more than decorations… art becomes part of people’s family.’

The economics graduate, who advises the Denise Coates Foundation and a wide range of private clients and interior architects, always had an interest in art history. After a stint on the European Commodity trading floor at Goldman Sachs, Curry decided to pursue fine art as a career instead. After managing distinguished Russian works at Matthew Bown’s gallery (a leading expert on Russian Contemporary and Socialist Realism), and assisting Tanya Baxter with a variety of Chinese Contemporary pieces, she went on to complete a postgraduate art history study at Oxford University. She went on to found the ‘concierge’-style, full service art advisory firm in 2009 and was joined by Katy Munn in 2010 to help with the research side of the business.

Having a numerical background helps in making client conversations more ‘efficient’, she says. ‘People are really time-poor and they don’t want an elongated conversation with me, where I’m not sure what something should be valued at – it’s inefficient to them and it creates confusion.’

When asked about her favourite art period, she reveals her ‘affection’ for modern work between 1900 and 2000. ‘It was a period of great such great change – art history was extremely dynamic.’

When asked about some of the trends she has noticed in the industry throughout her career in the art world, she says gender inequality, surprisingly enough, is still an issue. The passionate adviser believes that female artists that are ‘absolutely on the same level as male artists have been given a second place’.

A good adviser, she says, should be fully aware of similar problems existing in the art world and form an academic opinion on what the solutions might be. ‘They should be in touch with [such movements] in the market,’ she adds, saying that the job requires one to have a certain leadership to engineer change to balance out such inequalities.

‘It’s an area that’s developing and it still requires a lot of work to try and correct that disparity – it certainly won’t happen overnight.’ But Curry remains optimistic and foresees even better opportunities for female artists in the future.

When not analysing the art market thus or overseeing installations at HNW homes, the diligent mother enjoys her spare time with her two children and dogs.

Vanessa Curry