7 Questions With the Art Daddy: Wayne Northcross Edition
The Art Daddy this week talks to Wayne Northcross of CANADA Gallery and his rise in the art world.
Wayne Northcross’s 7 Questions With The Art Daddy
Wayne Northcross is someone who has quietly made his presence known within the art industry for over the last several decades. Working in museum, gallery, and even publishing settings helped Northcross to develop a unique skill set that he uses in his current position at CANADA Gallery as the director of museum and institutional relations.. At CANADA, he handles many aspects of the gallery and artist relationships which can include a long list of tasks.
5-star daddy Wayne Northcross in his art gallery uniform.
His previous roles as a writer and an assistant at Esquire and The Observer, as well as working as an independent curator and gallery director, are just a few of the many things that have made him a standout in the art world. The Detroit native holds a JD from the University of Miami's Law School and a BA from Wayne State in Italian Language and Literature, which have only helped his rise in the art scene.
In thinking about Northcross's current role in CANADA, and coming off the insanity of Armory Week which included 5 fairs, and over 100 gallery openings city wide, this has given me a new appreciation for the people who work at galleries and what happens behind the scenes. CANADA is currently gearing up for a group show that opens next month entitled Charismatic Good. The show brings together 14 artists including Paul Gardère, Harold Mendez , noé olivas, Moisés Patrício and Xaviera Simmons and seeks to explore the tension between individual, collective, and group spiritual practices broadly speaking. This takes on many forms visually, culturally, and sociopolitically, and each artist has come together in this show to investigate it in their own unique way. I recently spoke with Northcross about the art world, what some current trends he is noticing, as well as and maybe most importantly, what an art daddy is to him.
Art Daddy: How has your experience as a gallery director informed your approach to the art world?
Wayne Northcross: It took a lot of energy, drive, and perseverance to get and stay here. In 1996, after a bizarre turn in law school, I arrived in New York with a few dollars and dreams. Apart from my first career in editorial fashion, working in a contemporary art gallery was all I ever wanted to do. In those early days, the New York scene was smaller, less professionalized, and more brick-and-mortar.
I could count the number of people of color working in art galleries on one hand. In the early aughts, in Chelsea, there was a look, coinciding with the rise of the “gallerina”. I met and worked with dealers and curators who believed in diversity and practiced it in the composition of their staff and reflected in their worldview, artist roster, exhibitions, and programming. I am thinking of Rachel Lehmann, David Maupin, Jeanne Greenberg, Yona Backer, Venetia Kapernekas, and Christian Haye. Haye’s gallery, The Project, was so important in the early aughts. Haye was the only Black, gay dealer I knew. He showed Paul Pfeiffer and Julie Merhetu for the first time and many artists from the LA scene, from China, Berlin. Holly Block (former director of the Bronx Museum) was so supportive of my work and advocated for artists of color from that borough, the Americas, and the Diaspora. In Holly's example, I have an intensely personal view of the artworld which is based on mutual support, respect, and care.
I do experience the art world as a largely supportive community of creatives. I love this work. I never slam it. I am an art world booster. I mean, I love art fairs! I never get tired of the opportunity to talk to someone about an artist’s work. As a non-maker, having the opportunity to support artists in their vision and careers has been a gift.
There have been struggles and disappointments, mostly around gallery closings, downsizing, consolidations. Had The Project survived the crash of 2008, I’d probably still be there, or have had my ten-year run. As a director, I am keenly aware of the challenges faced by small and mid-sized galleries. Over the years, I have spoken with many artists about professional development, providing guidance around all aspects of the business. I tend to make more headspace for the business side and for strategic thinking and planning. I want everyone, artists, galleries, curators, to thrive.
AD: What are some things that you think set CANADA apart from other galleries in NYC?
WN: CANADA is one of the few, successful, artist-run galleries in New York. The relationship between the artists, staff, and community is highly collaborative and there is a profound respect for the artistic process. There is an interpretive spirit and a responsive sensibility around what an art gallery should be. There are no rules. Or, well, less of them.
AD: Over the last 10 years, what are some of the biggest trends that you have seen emerge in the art world?
WN: So many great artists have been overlooked or underappreciated. Where do you start! Currently, I am very interested in this emerging focus on spirituality, mysticism, and religious iconography in contemporary art. Artists are earnestly exploring the ineffable, unexplainable, the weird.
AD: What’s one thing you are obsessed with right now?
WN: Anyone who knows me knows that I am obsessed with my hometown. Detroit is such a dynamic, mythic American city. Its political, racial, and economic history loom large in the public imagination. Detroiters have embraced the city’s emergence as a cultural hub which is so exciting to see and experience. I return there often, try to keep connected, and support endeavors however I can. Most recently, I was there to attend I'll Be Your Mirror: Reflections of the Contemporary Queer, curated by Patrick Burton.
AD: Who is one artist(s) to watch right now?
WN: The artists in Charismatic Goods, an exhibition I am organizing at CANADA in October.
AD: What’s one piece of advice you wish you had when you were younger?
WC: Don’t go to law school. Enjoy the NYC nightlife. You can afford more sleepless nights and less than perky days at the office! On Tuesdays, I would go to Beige at the Bowery Bar, arrive at 11:00, and leave by 11:30pm. I missed spending quality time with my peers outside of an “artworld” context.
AD: Define what an art daddy is to you. And who is your art daddy?
WC: An art daddy should be fierce art defenders and aficionados and be somewhat elusive, inscrutable, romantic figures. David Fierman, Billy Gerard Frank, Michael Hermann, and Renaud Proch are art daddies, for sure.
Until next time daddies be sure to follow The art daddy substack as well as on Instagram to get your daily dose of daddies. Dm's are always open for news, gossip, and tea sessions.