INTERVIEW WITH GAY HUTSON | CO-FOUNDER BRITISH ART FAIR
You have been involved with British Art Fair since its very inception. Those must have been exciting times. What led you to co-found the Fair in 1988, and how original was it as a concept?
Gay Hutson, British Art Fair Co-Founder and Director
The 20th Century British Art Fair, as it was then known, grew out of the World of Watercolours (a predominantly 19th century event) of which I was also a co-founder. At that time the market for international modern art was booming and British art was gathering momentum in its slipstream. William Desmond of Austin/Desmond, an exhibitor at that fair, said a more modern fair was needed so an Advisory Committee was formed, of which Colin Gleadell is the only surviving member, and the first fair took place in September 1988 at The Cumberland Hotel. A handful of this year’s exhibitors showed at that very first fair. In 1991 it moved to the Royal College of Art
Have there been many bumps in the road?
Although the first couple of fairs went well, the recession of the early 90s took its toll and the fair really struggled. However, in the mid-90s there was a sea change: the 20th century market took off, and we rose with it. The salerooms started dedicated Modern British sales, and people began to appreciate the great depth and breadth of British art. Also, compared to prices for international art, British artists (apart from Bacon, Moore and Freud) were much undervalued.
How big a part do you think the British Art Fair has played in the boom in interest for Mod Brit art?
I think the British Art Fair can claim to have played an enormous role in the appreciation of home-grown talent. We have a very loyal following both from visitors and dealers. One year we had a 99% return rate, plus a very healthy waiting list.
Is there a gender bias whereby women artists are still underestimated (and hence under-priced)?
I like to think those days are coming to an end.
How much have you learnt over the years from the way other fairs run their business?
That there are some very professional organisers out there and we are always learning. But the ethos that my former partner, Bunny, and I shared is that our number one priority is to look after our exhibitors, make sure that everything is as smooth as possible as they move into the fair and then make it an enjoyable few days.
Are there any editions of British Art Fair that stand out in your mind as exceptional? Why was that?
One surprising one was in 2008 when the fair took place 10 days after the Lehman Brothers crash and we sold more pictures over £100,000 than we ever had before.
British Art Fair has this year joined the considerable portfolio of fairs owned by Will Ramsay. How has it been working with Will, and the well-staffed back-up team he employs to work behind the scenes?
It’s been good. Having only worked with one or two people before, being part of large team is new for me. But, without exception, the team has been enthusiastic, hard-working, and very loyal, for which Will deserves great credit.
What new developments in this year’s fair are you particularly excited about?
Being at the wonderful Saatchi Gallery allows the fair to have interesting loans and features, giving visitors so much to enjoy.
Is there a danger that the popularity of Mod Brit artists may be a bubble?
As I said earlier, there is great depth to the 20th century market. Over the years, tastes change and the market has evolved, but then so have the dealers. I see that continuing as we go further into the 21st century.
What is your favourite public art gallery, and why?
The one I visit most is Pallant House in Chichester, who always have a great programme of Modern British exhibitions. The newly refurbished Courtauld Gallery is also superb.
You are allowed a Mod Brit and a contemporary piece to hang on your desert island palm tree. What would you choose?
I would like the Ceri Richards which Christopher Kingzett showed some years ago at the Royal College and, from my own purchases, the Two Blues screen print by Bridget Riley.