Archives for posts with tag: Art and Business


Gadens is a leading Australian legal services provider strongly engaged with the arts to foster creativity, fresh thinking and retain best staff for its business. The firm runs programs and initiatives with Poetry In Action, Ruben Guthrie at La Boîte Theatre Company and National Art School, and hosts exhibitions of artworks by emerging artists at Adelaide and Sydney offices.

Campbell Hudson, a partner at Gadens, with rich expertise gained over 25 years of legal practice shares with us some incredible insights into the collaboration between business and the arts, and the benefits and challenges of that relationship.

Interview by Natalia Ilyukevich

One of Gadens key assets is the level of engagement within your team and its clients. What are some of the tactics you’ve used to develop that team and how does the involvement with the arts contributes to this aspect?

The most important aspect for our business is to recruit and attract the best staff. To do so you’ve got to have a dynamic and stimulating environment, and to achieve that it’s critical that there be an engagement with the arts. Some good examples of how that worked effectively at Gadens over a long period of time include a program where we’ve had an artist and a writer in residence, and Poetry In Action program with our people. You might ask how is poetry relevant to a law firm? The answer is that lawyers have to use the best words in the best order and poetry does the same. It’s our capacity to learn from the arts in terms of the use of the language and the effectiveness that ultimately charts our success as a business. We apply that philosophy to come up with a solution that is innovative and focused on clients’ needs, not necessarily the lawyers’ analysis of the law. And in that regard the arts is a wonderful way to inspire us and to help us along that path.

How do you choose the entities from the arts that you want to establish a relationship with and support?

We are certainly looking at supporting emerging talent because we think that’s the market that deserves and requires our support, and resonates with our young talent at Gadens. We are a young firm with 400 staff with 80% under the age of 30. As part of that dynamic we look for artwork that inspires, challenges and intrigues young people. Virginia Wilson, the art curator, works with us in selecting artists that she thinks are appropriate for us to support. Virginia has played a key role in selecting a young artist whose projection installation work challenges, but isn’t offensive or seen as out of step with the fact that we are a leading law firm in this country with top ten clients in the banking and property sector. So the artwork needs to be dynamic, stimulating and challenging in terms of what you’d expect from emerging artists, but at the same time it needs to be of such type that is not going to alienate or offend people.

Gadens describes itself as “A place where fresh thinking and new ideas are championed daily”. Does your relationship with the arts helps to encourage and nurture such “fresh thinking”? How?

Yes, it is absolutely imperative that we have fresh thinking in our challenging and dynamic environment and the arts of course is a wonderful inspiration. We have a very strong relationship with the National Arts School that has evolved into us having a function at their postgraduate exhibition last year where lawyers and our emerging talent were fortunate enough to be inspired by the displayed artwork. It was a very stimulating and enlightening event – our people came back with their creative thinking processes stimulated by that sort of engagement. We’ve also got a program that supports the Australian Youth Orchestra and Pacific Opera. So we are incredibly receptive to new ideas especially when it comes to our technology solutions – it’s very interesting to see that the technology piece works so effectively at our firm because we have an environment that encourages creativity.

What are some of the challenges for a sustainable relationship between the business and arts?

The challenge is to ensure that our engagement with the arts is focused on an aspect that resonates and relates to the partners and our staff. Recently, I was introduced to some young artists using vacant property as sites for art installation. In turn, this creates a direct link between property companies and the arts. At Gadens our core areas are banking and property – so if we are going to look at the engagement with the arts it would be wonderful to look at those sorts of initiatives from a property point of view. To work with our property clients and artists in relation to vacant spaces or vacant offices that can be utilised in a creative fashion would set a style of engagement that’s very important. However, if we’re going to have a sustainable long term engagement with the arts it has to be relevant to all our people, and have a commercial aspect that makes sense and resonates. So, that is a challenge but one that we are really keen to meet.


D’Lan Davidson is the head of Aboriginal Art at Sotheby’s Australia. After initially working as an artist in the United States and then owning and running a contemporary art gallery in Brisbane, Davidson became interested in collecting, which ultimately turned into a business.  Since 2000, Davidson has discovered and repatriated major works of art from overseas collections and discretely consigned these works, as well as successfully dealing exclusively and privately in Australian Aboriginal Art. In 2008 Davidson was approached by the then director of Sotheby’s Australia to take over the Aboriginal Art department, and in 2010 this was realized. D’lan took some time out to talk to arts interview about the business side of the arts sector.

 Interview by Alex Bellemore

 The theme of arts interview for April is ‘Art & Business’. At an auction house art IS business. How is the Aboriginal Art market currently travelling, against alternate fine art and international markets?

Since the global financial crisis the Aboriginal Art market is now much more discerning – works of high quality, rarity and beauty with impeccable provenance remain highly sought after.

The market is still tentative compared to before 2008, however international buyers are now returning.  This is a positive sign. Having waited for particular works to come back on to the market or finding a particular work that fills a void in their collection is also their motivation to buy.

Sotheby’s Australia remains focused on meeting the needs of the current and more discerning market.

It is worth noting that sales once comprised of 300 – 500 lots, however our sales are now in the realms of 80 – 100 lots.  So the overall dollar value of each sale has reduced, but our focus is on the longevity of the art movement, which can only be achieved through this refining period.

What ethical considerations do you have to take into account when dealing with the Aboriginal Art market?

Sotheby’s Australia’s policy remains perfectly clear – we ensure that artworks created by artists that are represented by art centres have originated from these art centres.  For every work that is selectively consigned to our sale, we ensure that each one is supported by authenticated provenance and the appropriate documentation, allowing us to draw a direct and ethical line from the current owner/s back to the artist.

What specialized skills do you have to bring to the workplace when dealing with a sales focused environment as compared to, say a director of an Artists Run Initiative?

Exhibiting works of art in an exclusive setting which ultimately highlights the works’ beauty, is something that we are focused on doing.

I also like to look at things from a fresh perspective. I see this current refining period in the market as being very positive and refreshing, both for exhibiting and buying. The fundamentals and foundations for the future market will be driven by enthusiastic and passionate buyers rather than from speculative interests.

Also, from past experience with working in the advertising industry and now working alongside our internal design team, compiling the finest scholarly and curated catalogues which are beautifully designed and laid out is also a focus.

How important is a solid comprehension of art as business for artists? Do you think many artists today are adequately aware of running themselves in some sense as a business?

Quite clearly many artists, both Indigenous and non-Indigenous, are ill equipped when it comes to running themselves as a business.

I think it is very important for artists to understand and comprehend the business of art. Market is driven by demand and clearly oversupply will hurt an artist’s ability to sell in the short to medium term. In time, however, great works by distinguished artists will stand out. This is why the current market represents a very good time to selectively buy.