{"id":39398,"date":"2025-09-02T20:41:07","date_gmt":"2025-09-02T20:41:07","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/39398\/"},"modified":"2025-09-02T20:41:07","modified_gmt":"2025-09-02T20:41:07","slug":"lindsay-jarvis-makes-a-bet-on-the-bowery","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/39398\/","title":{"rendered":"Lindsay Jarvis Makes a Bet on the Bowery"},"content":{"rendered":"

\n\tOn a sunny late-August afternoon, Lindsay Jarvis<\/a> was installing works for his opening exhibition at his new 2,000-square-foot gallery, located on the second floor of 96 Bowery. The London-born dealer is charmingly British, considered, and polite, with a sharp tongue when he needs it. Jarvis, who spent time at Sadie Coles and greengrassi back in the UK, talked through consignments\u2014most of which were leaning against walls\u2014with a mix of passionate enthusiasm and forensic calm.<\/p>\n

\n\tFor the past decade in New York, Jarvis has cultivated a reputation as an auction savant, a trusted art adviser with a knack for spotting overlooked value in twentieth-century names such as Lois Dodd<\/a>, Richard Mayhew<\/a>, and Joan Snyder<\/a>. Now, after years of placing works with collectors, he\u2019s decided to back his own taste with a gallery program.<\/p>\n

\t\tRelated Articles<\/p>\n

\t\t\t\t\t\t\"An<\/p>\n

\n\tThe timing might look contrarian: The art market, depending on which headline you read, is either in free fall or in \u201crecalibration.\u201d Jarvis sees something else. He points to the record-setting auction results of certain twentieth-century artists and sold-out primary shows as evidence that, while the froth of pandemic-era speculation has subsided, connoisseurship is back.<\/p>\n

\n\tThat pragmatism extends to the numbers. Jarvis is blunt that real estate is what kills most galleries, not the art itself. With that in mind, he stalked lower Manhattan for the right space. For Jarvis, the lease itself is an opportunity: Long-term, reasonably priced real estate is as rare as undervalued Mayhew canvases. But it\u2019s not impossible to find.<\/p>\n

\n\tARTnews sat down with Jarvis to discuss the gallery\u2019s debut exhibition, \u201cGhost,\u201d which opens Wednesday and runs through October 4. Organized with Max Werner, the show takes landscape as a starting point, mixing contemporary artists like Francesca Mollett and Daniel Licht with twentieth-century figures including Beverly Buchanan<\/a>, Lois Dodd, Richard Mayhew, Joan Snyder, Peter Saul<\/a>, and Janet Sobel<\/a>.<\/p>\n

\n\tThis interview has been edited lightly for clarity and concision.<\/p>\n

\n\tARTnews: Why open a gallery now, when so much of the talk is about contraction?<\/strong><\/p>\n

\n\tLindsay Jarvis:<\/strong>\u00a0People love to say the market\u2019s in trouble, but it\u2019s more complicated than that. Yes, some collectors are less active, but other areas are flourishing. Primary shows are still selling out, and certain twentieth-century artists are posting strong results at auction. Collectors who\u2019ve been around know the market is cyclical. For me, it feels like the right moment to start something because the air has cleared. If you want a decades-long career in the art market, this is actually a healthier climate than the one we had during the pandemic years, which were wildly speculative and unsustainable.<\/p>\n

\n\tWhat do you want this gallery to stand for, what will set you apart?<\/strong><\/p>\n

\n\tLong-term value. I\u2019m not interested in chasing trends. The program is about showing contemporary artists alongside undervalued twentieth-century figures\u2014people like Lois Dodd, Richard Mayhew, Joan Snyder, Janet Sobel\u2014where the cultural significance is there and the market is only just catching up. It\u2019s about connoisseurship and quality, not quick flips.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tDaniel Licht. Liar, 2025. Courtesy of the artist and Jarvis Art, New York\u00a0<\/p>\n

\n\tTell me about\u00a0\u201cGhost.\u201d Why landscapes, and why now?<\/strong><\/p>\n

\n\tLandscape feels urgent again. During the Industrial Revolution, there was this anxiety that technology was cutting us off from the natural world, and I think we\u2019re back in a similar moment now. Phones, AI, the pace of life\u2014it all makes people crave something slower and more material. Many of the works in\u00a0Ghost\u00a0have that neo-romantic sensibility, where the landscape becomes less about scenery and more about a stage for questions: organic versus synthetic, decay versus renewal, even geopolitical borders. It\u2019s a genre that can hold a lot of our present anxieties.<\/p>\n

\n\tYou\u2019ve spent years advising collectors and bidding at auction. How does that background shape the program?<\/strong><\/p>\n

\n\tAt auction you see what endures. I\u2019ve always gravitated toward artists whose work holds up under that kind of scrutiny\u2014Dodd, Mayhew, Snyder, Sobel. Janet Sobel is a great example; she was there at the very beginning of gestural abstraction, and only now is her market catching up to her importance. That kind of historical correction interests me.<\/p>\n

\n\tThe pandemic pushed fast, graphic, Instagram-ready painting. Where do you think we are now?<\/strong><\/p>\n

\n\tI think we\u2019ve swung back to connoisseurship. People want to live with art that rewards time. One of my best clients said to me, \u201cTime is the best friend of great art,\u201d and I think that\u2019s exactly right. You don\u2019t need something that looks good for a season; you want work fo quality that will still matter in twenty years.<\/p>\n

\n\tYou told me once that real estate is often what sinks galleries. How are you thinking about that side of things?<\/strong><\/p>\n

\n\tThat\u2019s the practical piece. If your bread and butter is selling $15,000 paintings, you can\u2019t be paying $50,000 a month in rent. That\u2019s just maths. The space here is a fraction of what one of the recently closed galleries was paying. There are opportunities right now if you\u2019re careful about the deal you make. For me, rent is part of the program: keep it sensible, keep it sustainable.<\/p>\n

\n\tAnd what happens after\u00a0\u201cGhost\u201d?<\/strong><\/p>\n

\n\tThe next show will be the first New York solo by Daniel Licht, a young painter I\u2019ve been following for a while. He has one piece in\u00a0\u201cGhost,\u201d and the solo will open that conversation up in a bigger way.<\/p>\n

\n\tI have to admit I love the nieghborhood, and even called it home once. But tell me, why open on the Bowery?<\/strong><\/p>\n

\n\tBecause it feels alive. There\u2019s history, there are scrappy spaces, and there are serious ones too. We\u2019re right across from Bridget Donahue, and there\u2019s a whole cluster of galleries in walking distance. It\u2019s the right place to stake a claim.<\/p>\n

\n\tThe press loves to cover closures and crises. What do you think they\u2019re missing?<\/strong><\/p>\n

\n\tThe positives. There\u2019s huge demand for certain twentieth-century artists and Japanese artists in particular, and almost no one\u2019s reporting that. Or take Blum closing \u2026 there\u2019s been little acknowledgment that they did so from a position of strength. If you only read the headlines, you\u2019d think the whole market was collapsing. That\u2019s just not true.<\/p>\n","protected":false},"excerpt":{"rendered":"On a sunny late-August afternoon, Lindsay Jarvis was installing works for his opening exhibition at his new 2,000-square-foot…\n","protected":false},"author":2,"featured_media":39399,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[267],"tags":[365,362,363,364,30184,366,18,117,19,17,30185,30186,30187,30188,21011,30189],"class_list":{"0":"post-39398","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-artsdesign","12":"tag-beverly-buchanan","13":"tag-design","14":"tag-eire","15":"tag-entertainment","16":"tag-ie","17":"tag-ireland","18":"tag-janet-sobel","19":"tag-joan-snyder","20":"tag-lindsay-jarvis","21":"tag-lois-dodd","22":"tag-peter-saul","23":"tag-richard-mayhew"},"share_on_mastodon":{"url":"","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/39398","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/comments?post=39398"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/posts\/39398\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media\/39399"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/media?parent=39398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/categories?post=39398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ie\/wp-json\/wp\/v2\/tags?post=39398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}