Arts Manager Interview

Visual Arts, Gallery Director of Martin Art Gallery

Jessica Ambler is the current Director of the Martin Art Gallery at Muhlenberg College. Previously in her career, Jessica was Head of Research for The Heller Group, an art advisory in New York City, and was also a Curator and Head of Artist Relations for Loupe, Inc. an art streaming platform. She was appointed by the mayor as member of the Allentown Arts Commission and is also on the Advisory Council for the Lehigh Valley Arts and Cultural Alliance as well as an Executive Committee member of the Museum and Library Alliance of the Lehigh Valley. She is also an Accredited Member of the Appraisers Association of America. Her current galleries art collection includes work by Andy Warhol, Judy Chicago, James Rosenquist, and more. 

Interview Questions:

1.    What are some major factors you credit to the success of your career and where you are today?

I would absolutely give credit to my numerous advisors and bosses who have all guided me and allowed me to learn from them. Many of them were very tough and demanding but they were all also incredibly successful in their respective fields, so working with them and learning from them was invaluable (as was having them as professional references subsequently). I am most appreciative of the supervisors I’ve had who took on a mentoring role, particularly at the museum and the auction house, because these were entirely new work experiences for me and I was encouraged to ask questions and seek guidance. Other professional experiences with supervisors, such as at the art advisory, were more hands-off which has its challenges when it’s a new job but it also made me very adept at figuring things out on my own and holding myself to a very high standard. I am particularly grateful for my time as the head of research at the art advisory because it was a crash course in the contemporary art market. I was given access to a wealth of information and got a peek inside the often opaque realms of blue-chip art sales. I would also say that joining numerous professional organizations and going to their events and conferences allowed me to learn and network. Finally, I know that I could not do what I do without maintaining good relationships with artists and previous coworkers. Building a professional network is crucial to success in the art world. I really appreciate the fact that if I don’t know how to do something (exhibition design or art shipping) I know people who are experts in this area and they are just a phone call away.

2.    What are some of the most unexpected places or ways you found an opportunity?

When I was first training to become an art appraiser, I volunteered to work at the Appraisers Association of America annual conference. I used the opportunity to speak with as many practicing appraisers as possible, letting them know that I was interested in internships and sharing my CV and contact information with them. I followed up with a number of people after the conference and one of them, an appraiser in the Estates department at Rago Arts and Auction, offered me a position as an intern with her. I worked there for two years, transitioning from intern to independent contractor, working closely with very talented appraisers who trained me on the job. It was an invaluable experience. 

3.    How often do you find you take risks or try new directions in your work? What are some indicators that you look for to tell if it’s worth pursuing these risks?

I suppose I’ve taken a few risks in my career, primarily pivoting from academic work as an art historian who specializes in ancient Roman art to training to become an art appraiser specializing in post-war, contemporary, and emerging art. This decision was worth the effort and retraining because I saw fewer and fewer job listings for ancient art historians while the demand for specialists in contemporary art only continues to grow. I also realized that shifting from academia to the commercial art world would vastly improve my ability to search for jobs. In terms of my current position as the director of a college art gallery, I would also say that I take risks in terms of the programming I have developed. I believe that college art galleries are testing grounds for new ideas, artists, and media because they are situated within a scholarly community. Because I do not need to be concerned about the monetary value of the work, I am able to show art that may not be commercially appealing but is pushing boundaries, asking questions, and forging a new path in the arts.

4.    Are there any anecdotes from personal experience you would be okay sharing that teaches a lesson or could help prepare a future (insert their occupation)?

I think that for anyone looking for a job in the arts, it is important to keep an open mind, be proactive, and make connections. I know that many people – especially those who have worked to obtain an advanced degree – look down on the notion of internships. However, from my own experience I can’t stress enough how important internships can be for making new professional connections and learning new skills. 

5.    If you could send a message to your younger self on day 1 of entering the business or when you started studying to go this route, what advice would you pass along?

If I could go back to when I was applying for graduate school, I would tell myself to listen to my undergraduate advisor who told me that jobs in ancient art were few and far between. I would absolutely encourage myself to look at job listings to see where the most demand was to better understand what the trends are and how I could tailor my studies and experience to meet those trends.

6.    Are there any resources, websites, software, or apps that you recommend as part of your job?

Yes! First and foremost, in every job I’ve had in the arts, from teaching to museum and auction house work, database skills are essential. Understanding how digital asset management systems work is so crucial, as is learning how to accurately enter information and metadata tags into the system. I have just signed up for Collector Systems for the Martin Art Gallery. I met the owner of the company years ago at a conference and he has built an incredible system. Beyond that, I always recommend reading online art publications including The Art Newspaper, Artnet News, Artsy News, and Hyperallergic in order to keep up with current institutional and market trends. 

7.    Are there any books (ideally with specific chapters), case studies, blogs, etc. that you feel are essential reading?

I’m teaching a museum studies class next semester and I am assigning many chapters from Museums in Motion: An Introduction to the History and Functions of Museums. It’s a great overview of what museums are, how they function, and why they are important. I am also a huge fan of Georgina Adam’s books Dark Side of the Boom and Big Bucks because they both examine the commercial art world from many important angles. I would also recommend reading about Fred Wilson’s 1992 “Mining the Museum” exhibition. As arts leaders, we provide a narrative and a context for work that we show and we must be mindful that there’s no single perspective or audience.

8.    Are there any organizations, associations, memberships, etc. you recommend joining to be better connected in the arts or artist management community?

Yes. Association of Arts Administration and Educators; College Art Association; Association of Academic Museums and Galleries; Association of Art Museum Curators (and/or Directors); Appraisers Association of America.

9.    Is there a blank, sample, or finished contract relevant to your position that can be redacted and used as an example in class?

I don’t think that I am at liberty to share this information, unfortunately.

 

Reflection:

It was a privilege to be able to get some light shed on another corner of the art world with Jessica Ambler. She not only is well experienced in visual arts but is also a strong advocate for Art that Is representative and pushes boundaries. As she mentions having worked so long in the commercial art world, you often get a sense of what sells and what doesn’t. This is often much different than what you see in museums and noncommercial art or academic art.   The biggest take away from this interview was the reinforcement of the value of networking. From my personal conversation with Jessica, she mentioned she just barely moved into her house and settled into the area. Only a few months later she has already established several positions in Allentown including being appointed by the Mayor to the Allentown Arts Commission, securing a position on the Advisory Council for Lehigh Valley Arts and Culture Alliance, and is an Executive Committee member of the Museum and Library Alliance of the Lehigh Valley. For reference Allentown is located within the Lehigh Valley which consists of multiple cities in Pennsylvania. Joining these groups has been a major part of her networking resources and her ability to establish herself quickly in a new area. It is her kind and supportive demeanor coupled with knowledge of contemporary art and art history that allows her to network her way into these influential groups. She also highlights in her answers how the ability to call upon others expertise is especially helpful when dealing with different issues in her own work. The key to this method being the maintaining of these relationships over time and continuing to try to find mentors and people who can teach you new things. Another take away from Jessica’s interview is the amount of diversity in her resume overall and her choosing to expand to more marketable skills. Considering the modern-day job market, many jobs in almost every field are full of positions asking for more and more combined skillsets to meet job requirements. By expanding her skillset, Jessica was able to get several unique but related jobs in different art positions. This includes gallery director, appraiser, curator, professor, artist relations specialist, and art historian. I think this highlights the importance of always continue to learn and expand your knowledge. Because at the same time you’re expanding your marketability and future potential. I found her suggestions for readings and publications to be very useful. I was most struck by her statement following these recommendations “As arts leaders, we provide a narrative and context for work that we show, and we must be mindful that there’s no single perspective or audience. This statement can be applied to all forms of art and is still equally accurate and impactful. Jessica’s interview gives many good examples of ways to expand an art career, and things to focus on to stay relevant in an ever-evolving market.