One of the leading names in the Australian art scene, Mark Hughes is synonymous with his namesake art advisory practice.

Over his 30-year career, he’s contributed to the cultural fabric of Sydney more than most. Since launching his business in 2011, he’s partnered with individual collectors, international buyers, and companies to source and build art collections that inspire, challenge, excite, and comfort.

Having curated the art for BresicWhitney’s offices across the Inner East, Inner West, Hunters Hill over the last decade – and more recently, the Lower North Shore – Mark is an authority on seeking out the meaning and joy in the smallest of pieces, to the awe within the grandest of collections.

 

Mark is also a former Trustee of the Art Gallery of New South Wales Foundation; on the board of the Museum of Contemporary Art Foundation; and a member of the Advisory Board for Sydney Contemporary Art Fair. More recently, he was inducted as a member of the Association of Professional Art Advisors; the world’s leading non-profit member organisation of art advisors, curators and corporate art curators.

With an illustrious career, Mark’s character remains unflinchingly humble. Especially for someone who’s partnered with some of the world’s most influential artists. Think: Yoko Ono, Vito Acconci and Andy Goldsworthy, to name a few…

He’s welcoming and down-to-earth when we visit him in his Surry Hills home; a three-bedroom loft with rooftop courtyard that offers vistas of the Inner City, that he shares with his partner. Their space is refined and minimalist in design and furnishing, with – you guessed it – the art – doing most of the talking.

With one of the country’s pre-eminent art fairs, Sydney Contemporary, taking place in September, we sat down with Mark for his perspective on work, life, and play.

 

BW: Tell us a bit about you.
MH: Professionally, I’ve always worked in the art world: in commercial galleries (representing artists) for many years. I’ve spent the last 13 years running my art advisory business, representing buyers across private and corporate sectors. We not only help source and curate collections, as we have partnered with BresicWhitney to do over the last decade, but we guide and advise clients through art fairs, conduct tailored art market research and more.

 

 

BW: You’ve had a very accomplished career. How did it begin?
MH: I don’t know why, but I have always loved art and feel very lucky to work in the field. There have certainly been a few pivotal moments, of both courage and fear. One of those is walking into a gallery at age 21 and offering to intern. I ended up staying and working at that gallery – Sherman Galleries – for ten years. I then moved to New York in 2001 – another big leap – before starting my business upon returning to Sydney in 2011.

BW: You’d know better than most the subjectivity involved in choosing art and how this impacts purchasing decisions. As far as investments go, how does art compare?
MH: In life, nothing is guaranteed and I think that is the same for art as an investment. If you are sensible and intelligent with your purchases, and have a bit of luck, you can do well with it. But the difference perhaps with art is that it is so often driven by emotion. Collectors will often recognise some works in their collection that have been the best investments, but they are also the same works that are the hardest to sell.

BW: Tell us more about that.
MH: What I mean is, some buyers fall into the trap of purchasing on instinct only. If something is immediately appealing, it may not sustain you over time, as your environment and tastes evolve. My advice would be to read a bit, talk to the gallery staff, and soak up the knowledge. Get to understand this process and respect that you can begin falling in love with consideration. This doesn’t always have to translate to purchasing a piece. You’ll be thankful down the track if you put that early effort in.

BW: What elements do you consider crucial when selecting art for a particular space?
MH: Wall size and budget to start with! But really, the art has to communicate in some way – this is important for whether you’re in a home or in an office. If it’s the latter, there must be inherent values that align with the mission of the business and demonstrate how art speaks to that.

With my curations for BresicWhitney, there have been a number of considerations to explore all working in tandem: location and community, the interior design and architecture/architect of the space, the office’s location in relation to other BW offices, and how the art in each space relates to the broader art collection at BresicWhitney.

 

 

 

BW:  A decade of your career was spent in New York. How does the arts culture differ to Sydney?
MH: New York unsurprisingly is a huge global art market. Everything and everyone you encounter, from artists residing there, to major museum shows, the world is present. Thanks in part to distance and some cultural factors, Sydney remains primarily local with some galleries working hard to bring us art from elsewhere. Our galleries have to work much harder and spend much more money to promote their artists elsewhere.

BW: You’ve seen thousands of pieces in your time. Do you have a favourite piece or collection that you’ve curated?
MH: Having acquired some incredible things for clients over the years, I have a long list of my favourites. That includes Conrad Ventur’s “13 Most Beautiful: Screen Tests Revisited“ that’s installed at the BW Inner East office (pictured below). It is a great artwork which can also be found in the collection of the Whitney Museum in New York.

BW: It’s incredible to think of all the emerging artists and work that’s not yet created. Naturally, there are a few ways that people can experience contemporary art across Sydney, Sydney Contemporary being one of those. What’s your view?
MH: Sydney Contemporary is a really great addition to the art ecology in Sydney. It’s great for art-loving visitors who can do some serious looking, learning and making acquisitions under the one roof. Participating galleries (who go to substantial cost and effort to exhibit there) also bring their A game with the aim of making great connections and doing important business. This in turn supports the artists and the economy. Everyone wins.

BW: How would you describe Sydney Contemporary in three words for people who mightn’t have visited before?
MH: Educational, Exciting, Essential.

BW: In addition to exploring art fairs and festivals, what advice would you give someone looking to purchase pieces for their home?
MH: Buy what you love, but do your research first.

BW: What’s a piece of advice you live by?
MH: Keep your eye on the horizon (and spend your money wisely).

Artist credits for select works featured:

Image 1 and 3.
Ragnar Kjartansson;
Cornelia Parker;
Peter Stichbury;
Lorna Robertson.

Image 2.
Mabel Juli;
Lee Krasner;
Helene Appel.

Image 4.
Kamrooz Aram.