GARY RHODES Star Gazing - Mayfair Times

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art
ABOVE: JULIAN AGNEW WITH
SIR PETER BLAKE’S 3D 6D 9D 1/–
RIGHT: SAM TAYLOR-WOOD’S
IVAN 2004
Julian Agnew is the sixth generation of the Agnew family to
head the gallery; he joined the family business in 1965, aged
just 22.
“It was always felt that I would be the one who came into
the business, even though I had an older brother,” says Julian.
“I think from the age of 15 or 16, it was fairly clear that that’s
what I wanted to do. Forty two years later, here I am.”
During his tenure as chairman of Agnew’s, he has been
strongly involved in the buying and curating side of business
and was also responsible for knocking down what was
perhaps the most intimidating entrance to a gallery ever to
exist. “You did see people walking down, sticking their noses
against the door, turning around quickly and beetling off into
the distance,” says Julian.
“There really are no
barriers for most
artists between
one [media] and
another. And while
we haven’t actually
shown a video or
anything like that
yet, no doubt the
day will come”
The long entrance arcade, which had been built by his
ancestors more than 130 years ago, was knocked down eight
years ago and the front turned into an airy gallery space. The
change, says Julian, “has made a huge difference”.
Agnew’s identity has also had a slight revamp over the
years, thanks partly to Julian’s daughter, Gina, who curated the
contemporary anniversary exhibition, Looking Forward.
The two-month show brings together 30 contemporary
British artists. These range from established Agnew's names
(Andrew Gadd, David Inshaw and John Wonnacott); major
names from British contemporary art (Peter Blake, Frank
Auerbach, David Hockney), and emerging artists new to
Agnew’s (Sarah Chalmers, John Holden and John Kelly).
Sculpture by Tim Pomeroy and Anthony Caro and
contemporary photography by Sam Taylor-Wood and Mario
Testino is also on show. Contemporary photography is an
entirely new field for Agnew’s although the gallery is certainly no
stranger to the media, having commissioned Roger Fenton to
cover the Crimean war in the 19th century.
“I think nowadays, you can’t talk about particular media
because there really are no barriers for most artists between
one thing and another,” says Julian.
“And while we haven’t actually shown a video or anything
like that yet, no doubt the day will come.”
Julian admits that the newly-honed focus on modern and
contemporary art is as much one of necessity as choice, given
the current craze for all things contemporary, coupled with the
lack of quality Old Master works on the market. However, duty
aside, he also appears to be rather enjoying it.
“Part of the fun for me is looking at new things and getting
to know new things, new artists. One is always looking for
something or someone that's new and is good and perhaps
neglected or underpriced and then, in that way, you can
contribute to the market and edge on the creative process.”