In the ever-evolving landscape of the art world, a fascinating resurgence is taking place. Artist management agencies, reminiscent of the Renaissance era, are making a comeback, offering a fresh approach to navigating the complex world of art. This trend is particularly intriguing as it challenges the traditional gallery model, which has dominated the art scene for centuries.
The Renaissance of Artist Agents
Before the rise of art dealers, artist agents played a crucial role in the art market of Renaissance Europe. These agents, often diplomats, secretaries, or merchants, acted as intermediaries, sourcing and valuing artworks on behalf of buyers. However, with the emergence of art dealers in the late 16th century, particularly in Antwerp and Amsterdam, this role gradually faded into the background.
Fast forward to the present day, and we witness a remarkable shift. As the traditional gallery model faces significant upheavals and artists adopt more interdisciplinary practices, artist agents are once again stepping into the spotlight. The recent launch of the Artist Legacy Bureau by Cristopher Canizares, a former partner at Hauser & Wirth, is a prime example of this revival.
A New Wave of Agencies
Canizares is not alone in this venture. Over the past two years, a wave of new artist management agencies has emerged. Sensity Studio, founded in London by cultural strategist Dina Mostovaya, focuses on promoting female artists. Art+Mgmt, established in Miami by Julia Bassiri, and KUNST Agency, led by former model Anne Verhallen, both work with creatives across fashion, art, and music. Additionally, Spencer Young, an agency-cum-advisory based in New York, joined the scene this spring.
Jon Horrocks, a former director at the now-closed Stephen Friedman Gallery, is also launching an artist agency with a unique focus on museum partnerships. Horrocks attributes this sudden surge in agencies to a "zeitgeist moment" and the need to remain adaptable in a turbulent market.
The Benefits of Artist Agents
One of the key advantages of artist agents is their ability to operate without a physical space, keeping overheads to a minimum. Horrocks describes his agency as a "small-scale, bespoke affair," catering to a select group of artists on retainer. He emphasizes the collaborative nature of his work with galleries, focusing on enhancing artists' institutional presence through curator engagement and securing museum exhibitions and acquisitions.
Horrocks' fee structure is flexible, offering a sliding scale based on artists' needs. Some artists pay a monthly retainer, while others work on a commission basis, depending on museum sales. This approach ensures that artists receive tailored support, whether they are seeking a sounding board or a comprehensive package.
By taking on the long-term career development of artists, Horrocks aims to relieve some of the pressure on galleries. His agency provides estate planning, academic engagement, and archive publishing, empowering artists to view their careers holistically, beyond the scope of their galleries.
The Rise of Disintermediated Sales
While galleries remain the preferred channel for sales, according to the Art Basel and UBS Survey of Global Collecting, there has been a notable rise in "disintermediated sales." Artists are increasingly selling directly to collectors from their studios, via Instagram, or through direct commissions. This trend, which doubled from 10% in 2021 to 20% in 2025, highlights a shift in the art market towards more direct artist-collector relationships.
Meeting the Needs of Mid-Tier Artists
Rachel Keller and Sarah Davis, with their gallery experience and studio management expertise, have opened the Davis Keller gallery in Los Angeles. They aim to fill a gap in the market for mid-tier artists who either work with large galleries unable to provide the necessary administration and studio support or smaller galleries lacking the resources to accommodate their needs.
Keller and Davis believe that artists are more empowered than ever before. They highlight the emergence of a new genre of arts practitioners who are choosing to work in an interdisciplinary capacity. Artists are no longer solely interested in gallery shows but are exploring collaborations with hospitality companies and brands. This shift has created a need for a third party, such as agents, managers, or creative directors, to navigate these complex relationships.
Precedents and Success Stories
This new wave of artist agencies builds upon precedents set by earlier ventures. While some agencies, like United Talent Agency (UTA), faced challenges and closed their fine art divisions in 2024, others have achieved great success. Art Agency, Partners, co-founded by Allan Schwartzman, Amy Cappellazzo, and Adam Chinn in 2014, initially focused on advisory services for private collectors, museums, and civic initiatives. In 2016, the firm was acquired by Sotheby's for $85 million, and they began experimenting with providing services to artists and estates.
Schwartzman's own agency, Schwartzman&, has seen a significant uptick in artist advisory clientele, particularly since the beginning of the Covid-19 pandemic. He notes that galleries became increasingly transactional during this period, while the first wave of baby boomer artists faced the end of their lives, creating a unique set of challenges for the art market.
The Future of Artist Agencies
As Schwartzman observes, the art market is facing significant changes in collecting habits, and the traditional models are being challenged. With some galleries proving more responsive and resilient than others, artist agencies could be the complementary model the art market needs to adapt and thrive in these uncertain times.
In my opinion, the resurgence of artist management agencies is a fascinating development that offers a fresh perspective on the art world. It showcases the industry's ability to evolve and adapt, providing artists with the support and flexibility they need to navigate the complex landscape of the art market.
