Archives for posts with tag: International

Magnus

The Fair Director since the inception of ART HK, Magnus Renfrew has over a decade’s professional experience in the international art world. Before joining ART HK, Magnus was Head of Exhibitions for Contrasts Gallery in Shanghai. Previously Magnus was a London-based specialist with the auction house Bonhams. During his seven years there he was responsible for sourcing works internationally for Modern and Contemporary sales, as well as having been instrumental in bringing to fruition their first sale of Contemporary Asian Art in London.

Interview by Shivangi Ambani-Gandhi

How does cultural difference impact how you direct Art HK?

It affects the way you behave with people. My character is suited to work in Asia – I was brought up to respect people and to give people time. You need to physically give people time – have conversations, make them feel that they are important and valued. You need to develop personal relationships and friendships – business is based on how people get along and so it is important to set the ground for trust.

It becomes difficult to implement an international standard for selection (of galleries represented in the fair), because people assume that since they have a personal relationship with you, they have a better chance of getting in. And when they are not selected, they feel personally slighted.

You also have to deal with the intimidation factor – people often do not ask the question because they do not already have the answer. They do not want to ask the price because they do not want to lose face or look like they cannot afford it. We encourage galleries to be as forthcoming and un-intimidating as possible. And the fair also offers different levels of education through programming.

What is the difference in leading people in Asia vs. Europe?

We have a cross-cultural team and a flat management structure. We are not big into hierarchy and everyone’s role is equally important. It is a high pressure job, so you need to have a supportive environment. I am constantly travelling and so my work is often in parallel with the team in Hong Kong.

We also have a diverse advisory team that we use to seek introductions and build networks. It is important to have people who are respected in their own countries. Introductions are very important in Asia, so that you connect with the right people.

In China, it was quite difficult to manage people. Sometimes as a foreigner there can be resentment or questioning of your position. It becomes important to get an understanding of the culture and to gain people’s respect by working hard, rather than just bossing people around.

Is there a personality type in the arts? Is it different in administrative roles as compared to artists? Is personality a consideration when you are recruiting?

There are many stereotypes of the art world. The galleriests I have met have been demanding, intelligent, sensitive and have high expectations of themselves and others. In any organisation you need show horses and work horses. There are the ambassadors who win business and become the face of the organisation, versus those who are structured in their thinking. When recruiting, it is important for us to know how they will get along in the organisation. People here have to work as a team.

What is the personality of Art HK?

Humility – you are only as good as the last fair and the galleries that participate, so you take nothing for granted. Geographic diversity, accessibility and quality are defining characteristics of the fair.

We are an art fair that reflects and celebrates the diversity of the region. In the West, fairs are showing works to match the western aesthetic sensibility and have been slow to adapt to the changing world. Art means different things to different people and the purpose of art is not a universal concept. We want to be inclusive of the arts scene here, but not ghettoise it into ‘Asian art’. Artists do not want to be pigeon-holed as ‘Asian artists’.

Many other fairs in the region are run by local gallery associations or by people who are very powerful within the scene without having international credibility. They are not able to get international galleries that do not want to be seen next to galleries that are not the best in the region. We have broken that spell through the selection process and by getting galleries that are doing interesting things. We are balancing the flavour of the fair with 50% from Asia-Pacific and 50% from the rest of the world.

More information on personality and cultural difference:

Barry Hessenius

This week arts interview talks to someone who has a unique perspective on the arts industry – another blogger. Barry Hessenius, of Barry’s blog, has a readership of around 10,000 arts administrators from the United States and across the globe. Barry discusses what he feels are critical issues facing those in the industry and each week he shares common concerns and discusses ideas, all with an element of humour. In January, Barry posted a piece on job advertisements in the arts that we felt was worth further discussion, so we asked Barry for a moment of his time.

Interview by Kim Goodwin

You say in your post that job advertisements are firstly generic, but secondly unrealistic – in what way are these advertisements unrealistic? Is it not fair to look for well rounded, experienced arts professionals?

It was, of course, meant as tongue-in-cheek satire, so looking for well-rounded and experienced arts professionals is not only fair, but the only rational option. But the advertisements themselves are all the same and on the surface it would appear that the employers are looking for some “perfect” candidate that likely does not exist. Let’s be real – the “ideal” candidate that meets that kind of job description probably already has a job – one paying far more than the one being offered. I think in order to better match qualified candidates to jobs that they would be a good fit for, the descriptions should be a little more honest in what the job is and what the challenges are, and those doing the hiring should be a little more open to the qualifications of candidates in trying to determine who could, in practice, do the job well. I also think that those doing the hiring might at least consider taking a little more risk in terms of whom they ultimately hire and not rely so much on past experience as the only determinant of consideration.

How often would you say that arts organisations “settle” for the best they can get? 

If their expectations are unrealistic and ill thought out – then 95% of the time. What choice is there? There are few really fully developed, spectacular, gifted, visionary, experienced, dynamic, charismatic leaders in any field. That does not mean that the rest of the candidate pool is not qualified, is not competent and is not capable of growing and learning, and developing into true leaders. The point is that what arts organisations should probably be looking for are diamonds in the rough as it were – potentially gifted leaders and managers. And take a little risk on them. I think personal chemistry is not an unimportant criterion to consider. On the other hand, organisations that look for candidates that are a good match in terms of the skill sets the candidates have, as related to the challenges that the organisation faces. Understand that for the most part employment at their organisation is part of a longer and larger career trajectory for the candidates and appreciate that they offer an ecosystem in which rising stars in the field can cut their teeth, gain experience and become outstanding administrators and managers – then those organisations very likely find new hires very close to what they want – and in that sense do not “settle” at all.

Realistically, how many arts organisation recruit primarily through networks and relationships, making the advertisement more an act of compliance rather than a real tool to uncover emerging talent? 

I think that is probably correct. I have no idea about the statistics, but I would suspect that most organisations that hire a search firm, or that advertise widely and prefer national searches, do not get that much larger or better a final candidate pool than they otherwise would have.

Do you think there is value for arts organisations to invest in better human resources or talent management techniques?

Value? Absolutely. The problem is one of cost. The current economic constraints all but prohibit that kind of investment. While it is always challenging to find the right person for a given position, at least in America, it is a buyer’s market at the moment. Supply exceeds demand, with more qualified candidates than positions available.

Retention is a harder challenge for a number of reasons, chief among them that most small to medium sized organisations have limited advancement opportunities for their employees. They have relatively small teams, people in the higher or supervisorial positions do not tend to retire or move on all that frequently, baby boomers are finding that it is more difficult financially for them to retire (and many do not want to anyway), and thus, the openings for the younger cohort of arts administrators are fewer and farther between. That results in lateral advancement, which is not often available either, to other organisations as the only viable option to move up the ladder, or move out of the field altogether – which is a problem for all of us. In several studies, including one I authored on Youth Involvement in the Arts for the Hewlett Foundation, we found that while the inability of arts organisations to pay even a living wage to younger employees was an issue in retention, it was not as important to that cohort as their career trajectory, mentoring opportunities, meaningful work, the chance for early decision making responsibility and to learn on the job, and a convivial working environment.

As to better talent management techniques, I think we have a long way to go. In terms of providing professional development opportunities for our people to enhance their skills and become better administrators or managers, we are woefully inadequate. To the extent we offer any training opportunities, they are extremely limited (e.g. we offer fundraising training, but not such things as “how to be a better listener”). And while there are university degree programs in arts administration, there are too few easily accessible, affordable, on demand training options to the average arts worker.

Interested in further reading on roles and jobs in the arts?