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"AGE: 39HAILS FROM: ManhattanPRESIDES OVER: Bryce Wolkowitz&amp;nbsp;Gallery, 505 West 24th Street, New YorkGALLERY\u2019S SPECIALTY:&amp;nbsp;Contemporary artARTISTS SHOWN: Edward Burtynsky, Jim Campbell, Peter Campus, Bruce Davidson, Brigitte Kowanz, David Opdyke, Jos\u00E9 Parl\u00E1, Alan Rath, Ben Rubin, Paula Scher Gallery \u2019s first show: \u201CArt Apparatus,\u201D 2002, with Jim Campbell,&amp;nbsp;Alan Rath, John F. Simon Jr., and Steina VasulkaWas there art on the walls when you were growing up?I grew up in a very creative household in Manhattan. My father\u2019s a fashion designer and a talented artist in his own right. My parents collected Pop&amp;nbsp;art and color field painting, and when I became a teenager we collected vintage photography together.What is the first work of art you remember being affected by?Jim Dine\u2019s \u201CPutney Winter Heart #8,\u201D 1971, which hung in our living room.&amp;nbsp;It was a beautiful painting, and rich with assemblage. It cemented my love and appreciation for collage.When did you first open your gallery, and what drew you to the business?I opened my doors in 2002, having previously worked as a specialist in the photographs department at Christie\u2019s. Aware of the city\u2019s rich tradition of galleries, I had noticed an absence of programs committed to promoting&amp;nbsp;video-, digital-, and electronic-based art.How did you choose your specialty?When I was 17 I spent the summer as a research assistant for John Hanhardt, then senior curator of Film and Media Arts at the Guggenheim. John introduced&amp;nbsp;me to a rich and diverse world of video art, then roughly 30 years old. The works of Nam June Paik, Peter Campus, and Woody and Steina Vasulka signaled&amp;nbsp;an innovative approach to art making. That approach continues to influence&amp;nbsp;the gallery\u2019s program.What is the most challenging part of running an art gallery today?Striking a balance between fostering my artists\u2019 careers, doing art consultations,&amp;nbsp;and maintaining a heavy fair schedule is the most challenging part of the job.Has your market been changing?Similar to the rise of photography as a fine art since the 1990 sale of Graham&amp;nbsp;Nash\u2019s collection, video and new media is no longer considered a stand-alone&amp;nbsp;market. It\u2019s recognized and acquired by mainstream buyers. Conversely, this&amp;nbsp;is why my program has expanded to include painting and sculpture.In which art fair do you most enjoy participating?Photography fairs such as AIPAD and Paris Photo give us the opportunity to showcase artists who merge traditional photography with alternative media. Jim Campbell, Alan Rath, and Peter Campus are great examples of this.What has been your strangest or most humorous experience in the art trade?In 2004 I assumed I could simply go down to Canal Street to buy pigeons for&amp;nbsp;a posthumous re-creation at the gallery of Juan Downey\u2019s \u201CAbout Cages [1987].\u201D You can find just about anything on Canal Street, but I never did find a&amp;nbsp;pigeon-seller.Are there any works that have been painful to part with?Jim Campbell\u2019s \u201CMotion and Rest #2.\u201D Had I not sold it to the Metropolitan&amp;nbsp;Museum, I\u2019d have bought it for myself.&amp;nbsp;Do you bring any experiences from outside the art world to bear on your gallery?The experience of being a parent and the perspective my children give me help&amp;nbsp;me see things from different angles.What sets your gallery apart?I believe we\u2019re unique in our commitment to showcasing and promoting new media. While I still feel this work is often viewed as purely technological,&amp;nbsp;I see it as a beautiful mix of art, technology, and design.&amp;nbsp;Is there somebody who early on gave you good advice? What was it?\u201CThe illiterate of the future will be the person ignorant of the use of the camera as well as the pen.\u201D\u2014L\u00E1szl\u00F3 Moholy-NagyIf you could own any artwork in the world, price or availability no object, what would it be?Moholy-Nagy\u2019s \u201CLight Space Modulator,\u201D 1930.If you were not an art dealer what would you be doing?I am deeply engaged in STEM (Science, Technology, Engineering, and Math)&amp;nbsp;education. I\u2019d most likely find a role for incorporating art into that endeavor.This article appears in the January 2013 issue of Art+Auction."^^<http://www.w3.org/2001/XMLSchema#string>
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