Anne Huntington

About Anne Huntington

Between now and the end of 2010, AHAlife is profiling seven of the most exciting, up-and-coming New York-based entrepreneurs we've encountered this past year—spanning each of our daily categories. Read more to learn why they’re names to follow, and hear their tips and insights into key trends for 2011.

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Independent art curator and consultant Anne Huntington specializes in finding new and innovative ways of showing art. Her shows, which feature both emerging and established cutting edge artists, are shown in transient and unorthodox pop-up locations rather than traditional galleries. Huntington believes that this kind of environment is more intimate and more likely to create a connection between the art work and the viewer.  

What do you do? 
I am the founder of AMH Industries, LLC, which is an art curatorial and consultancy firm. I curate contemporary art shows, collaborate with contemporary artists, consult and guide new and seasoned collectors through the contemporary art market. I make the contemporary art world accessible and easy - curating shows involves building relationships, courtships and finally unions of ideas, concepts and ultimate execution. This marriage involves inspiration, ideals and fundamental guts. My job is to make everything look effortless and perfect. When consulting I guide, curate, and connect my clients with potential artworks that work within their budgets and lifestyles. I make sure the shoe fits.

What are some of the projects you worked on this past year?
I worked on Tools for Thought’s Haiti Benefit at Sotheby’s, which raised over $150,000 for Partners In Health. I co-curated the inaugural Project Art for Project Paz, a non-profit that promotes peace in Juarez, Mexico, raising just under $100,000. And I was involved with non-profit committees for art institutions including the Natural History Museum, New York Academy of Arts, the New Museum, and the Museum of Arts and Design.

Shows I curated this past year include:

  • PYT: Pretty Young Thing, a weekend salon-style show that featured the work of 23 emerging artists, including Nir Hod, Alexandra Richards, Carlos Van der Roer, Meredith Ostrom, Ben Olson, and Winston Chmielinksi.

  • I contributed four works by contemporary cutting-edge artists, including Amit Greenberg and David Victor Rose, to the Bicycle Film Festival's annual art show at Damon Dash Gallery. 

  • An Endless Summer, a solo exhibition of mixed media and photography by the emerging Australian artist Anna Coroneo that was exhibited in a raw gallery space in the famed Terminal Building (home of the infamous Tunnel nightclub). 

  • 4 Sale, a photography- and video-based exhibition by Aneta Bartos, Elle Muliarchyk, Yana Toyber and Martynka Wawrzyniak.

  • Co-curated a group show, Voyeur, in a vacant 8,000 square-foot industrial space during Art Basel Miami, which included large-scale sculpture, photographs, performance, video, photography, and mixed media by more than 40 emerging and established artists.

  • And I curated a show at the innovative Gallery Bar titled The Stock, with new works by Benjamin Hollingsworth and Jason Shelowitz.

Why do you think these trends are happening now?
The current climate is inspiring art; the trend is to work and create together. Artists see this and build off each other. This collaborative trend generates extreme results. Now with online, interactive platforms these connections are more feasible and accessible. Conceptual and minimal practices bring the art to the raw, essential form. This singular experience is very real and substantial in our current information-overload society – the art reflects the current environment.

What trends do you foresee for the upcoming year?
I see a continued growth in where we’re at today – conceptual and minimal influences in various forms including installation, performance, video, painting, and photography. I see more sculpture based works. I see more artist agency and use of online portals – artist and communal websites. Collectors will continue to grow and develop their collections.

Why do you think these trends are important to understand?
Trends help us figure out what’s the current climate. It’s important to see the process – what works, what needs tweaking, and how the art world responds. To assess, grow and develop trends are the best way to move forward and help define contemporary art.

What developments would you like to see in your field this year?
I hope to continue to see enlightened work, community building, real experiences and appreciation for the arts.

What's on your personal wish list for the upcoming year?
I want to continue connecting artists with shows and collectors with artwork. It's extremely rewarding to brainstorm potential exhibitions, collaborate with artists and make the ideas a reality. It’s equally rewarding to show a client works within their price range and aesthetic, and then guide them through the process of acquiring the work – a work that becomes part of them. Of course, the best part is to connect the artist with a collector, which creates a wonderful fusion of my two favorite worlds. I wish for this to continue.


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