From working directly with Larry Gagosian as a gallery director to becoming a director at White Cube, Julia Baumhoff Zaouk is no stranger to the biggest names in London’s art world.
Julia’s first show at Gagosian was with none other than contemporary American artist Jeff Koons. Now, at White Cube, she works with the likes of Tracey Emin and sculptor Antony Gormley, to name just a few.
We sat down with Julia Baumhoff Zaouk to chat about the most exciting artists working in London at the moment, upcoming exhibitions at White Cube, and where to buy your very first piece of art.
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How did your relationship with art begin?
I was born in Cologne, Germany, but am now based in London. My family is very passionate about art. My great-grandfather was a painter. I wanted to be a painter when I was a young child, until I was about ten years old. My grandmother was also very passionate about art and was a volunteer and patron of the Ludwig Museum in Cologne, Germany where I grew up; it’s one of the biggest contemporary art museums in Europe. I spent my childhood visiting auction houses, art fairs, and museums with my family. Art was always around me – partly through my family but also due to where I was raised: Cologne is an important area in Germany for collecting (buying and selling) contemporary art, and is the home of one of the oldest contemporary art fairs in the world, Art Cologne.
So, art has always been present in your life?
Exactly. I’ve always been surrounded by it. As far as cities go, Cologne is relatively small, so my family and I felt very integrated into the local art community. Whenever there was a gallery or exhibition opening, we would go and support our friends.
How did your interest in art and your creative upbringing evolve into a career in this industry? Did it feel like a natural progression for you?
I didn’t plan to become an art dealer. I spent lots of time at art fairs and became friends with lots of art collectors and dealers. And then it just happened; I met Larry Gagosian as he was hoping to expand his galleries and asked me to join him as a gallery director. This felt like my calling, my lucky card!
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How exciting. Tell us more about your time working for Larry Gagosian, do you have any favourite anecdotes you can share?
It was over 22 years ago, so Gagosian was very different at the time. There were no galleries in Europe other than a small space in the UK. Larry Gagosian was interested in expanding his European presence but wasn’t one hundred percent sure as it was a new market. It felt like such a great honour to work so closely with him over these years.
One of my first tasks was negotiating the kitchen from Cipriani (the restaurant that neighbours the Gagosian Gallery on Davies Street, also known as C London) to be moved to the back of the building so we could open the gallery next door. We managed this through our close relationship with the restaurant’s owners and shareholders. These years felt intimate, everything was based on friendships. The girls I worked with at the beginning now look after Gagosian’s gallery spaces in Paris, Rome, Geneva.
You must have met and worked with incredible artists too?
Meeting and working with “blue chip” artists was great. A funny memory was one of the first shows that I opened in this gallery space on Davies Street, with American artist Jeff Koons, displaying his high chromium polished eggs. Myself and the team were so excited and nervous that Jeff Koons was coming to the gallery for the press conference. If you’ve been to the Davies Street gallery, you’ll know how intimate it feels. Suddenly, I had a call directly to my desk: a man saying he was Jeff Koons was at the other end of the line – I hung up, assuming it was one of my friends, as they were the only people with a direct line to my desk. But it really was him! He called again explaining he couldn’t find his driver. I was young, in my early 20s, and totally mortified. Thankfully, he has a very good sense of humour.
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An impressive artist for your debut show! Can you tell us about your role now, as a director at White Cube? What does that entail?
I am a sales director for White Cube. I work with both private and institutional clients to expand their art collections. It’s like putting together puzzle pieces. Which artworks should we refresh? Which should we resell? How can we improve this collection? There’s always lots going on, because we refresh our shows roughly every month or two at White Cube, alongside the private institutions, as well as working with our artists to see how they can fit into the exhibition programme. So, I regularly check in with artists to see what they’re working on, if they are aligning with the gallery, and their plans for the future. My team and I are also always attending art fairs exhibiting our artists and artist portfolios. We opened in America two years ago too, so I often fly out there to work on their strategy.
How about private collections?
I work with blue chip artists. Art has become such a big asset, to collect for financial purposes and then hang at home – or even place in storage. I love working with clients whose heart and soul beats for art and the passion, stories, and history of the artist.
What advice would you give women who are looking to start collecting art? Where do we begin with buying our first piece?
I would always say only buy something that you love. Go and see as many shows as possible (especially if you live in London, that’s the beauty of this city). Go to auction houses: they are like going to a candy store, because you’ll find a little bit of everything. You can also associate the prices with how much you’d like to spend. Younger artists are great if you have a smaller budget. Look to older artists for investment pieces. The most important thing is to establish what you like.
Your favourite auction houses in London for browsing and buying?
I think all the modern contemporary ones are great. Christie’s, Sotherby’s, Phillips, Bonhams …
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Tell us one of the best parts of your job?
One of my favourite parts about my work is that I see pieces being made. You witness the whole process, from their conception to where they end up, whether in a private collection or a museum, and how much joy and intrigue they bring.
Which exciting artists have you worked with recently?
Anselm Kiefer, a German artist, who is celebrating his 80th birthday this year. The gallery has a very strong relationship with him, and has worked with him from the start. This year, he had a joint exhibition at Van Gogh Museum and Stedelijk Museum in Amsterdam. We were very closely involved in brokering and sponsoring this show. Amsterdam is a very important city to Kiefer, who visited as an art student for inspiration, which makes it even more special to be celebrating his incredible career here all this time later. Anselm Kiefer also currently has an exhibition at the Ashmolean in Oxford, which we worked on too. I have followed Kiefer’s work since I was a child, because he is such a phenomenal, important German artist: it’s so special to be working directly with him.
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Which female artists have you really enjoyed working with?
I love Tracey Emin, she’s one of our powerful British ladies. I admire her residency that she set up at Margate. Her best friend runs it, but she is one hundred per cent involved with everything that happens here, from the projects to placing attending artists with impressive galleries – which has transformed their career trajectories. She supports them the entire way. I think she is great.
What about female contemporary artists who you think more people should know about?
We have a few younger artists in our repertoire who are also brilliant. We recently closed our London show with Saudi Arabian artist Alia Ahmed, and had a smaller show in Paris with her last year. I think she is very talented. Louise Giovanelli is also great, and recently showed her work at Hepworth Wakefield. Ilana Savdie also currently has an excellent exhibition at White Cube New York.
Would you say that London is a good incubator for young talent? Or does it still feel like a place where you have to be established to really succeed?
I think London is incredible, but it’s definitely very expensive. Compared with other European cities, the cost of living in London is excruciating, so often artists need to find additional streams of income at the start of their careers to make it work, which compromises the time they have to work on their art. London is also fast-paced. Obviously greater doors open here, but trying to find time to squeeze in meetings and get recognised is tough. Living in big, busy cities comes with lots of pressure. But, that’s not to say it’s not possible.
Any exciting projects that we can look forward to at White Cube this year?
We recently showed the incredible sculptor Antony Gormley in Mason’s Yard – I hope everyone had a chance to see this exhibition. In our Bermondsey space, we are showing Richard Hunt, an American sculptor, for the first time.
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Would you say that London has a creative hub or centre?
Central London. We are blessed to have free admission to so many amazing galleries in the capital. It’s unheard of anywhere else, and is very inspiring. You can embrace and inhale art history so easily here. Plus, lots of these “blue chip” galleries compete intellectually and curatorially with museum exhibitions. A Picasso exhibition at a London gallery often rivals that by one at a big museum. Don’t be afraid of walking into these spaces. Additionally, auction houses often host auction previews (admission free) which are amazing previews for learning about artists and discovering your own taste in art, discovering new talents, learning about the value of art, and above all, spaces to just enjoy art. We are so spoiled in London.
But really, you’ll find great artists all across London.
Besides White Cube, do you have any favourite spots in London for enjoying art?
I have supported the Serpentine for the last 25 years, and have the privilege of living close to Hyde Park so I go there a lot. The programme, the supporters, everyone who works here is incredible. Equally, I like the Royal Academy of Arts. I think a lot of London’s institutions are brilliant.
Is there a piece of art that you could look at again and again and again and never grow tired of?
Everything my dear friend, Annie Morris, who’s a British visual artist conceives. I don’t work with her, but I love her creativity and we are really great friends. I also love sculpture, and could never grow bored of Antony Gormley: as a person, as a human, as an artist. His art is exceptional. Very British but also very universal.
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How would you say London’s art market and gallery scene compares to others around the world?
That’s a big question. I think London historically has always been very, very, important. New York too, but London more so. Since Brexit, Paris has become more vibrant but it still can’t compete with London.
How would you summarise London’s art scene?
London is one of the most important cities in the art world.
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