I met Julian Sander through the DGPh, the German Association for Photography, in times of Corona. We talked about his gallery program, the legacy of his great-grandfather, August Sander, and the direction of his gallery.
I am therefore all the more happy to do this real recap with Julian, shortly after his brilliant presentation of all of August Sander's work “People of the 20th century”, which he exhibited at Paris Photo in November. Happy reading.
When and how did you begin your career in the arts/photography sector?
I come from a family of artists and Art dealers. So it's difficult to give an exact time in an answer. Growing up in a gallery, I guess my first real experience was when I was 12, helping with matting and framing, or painting the gallery before a new exhibition. I have been photographing most of my life. I started my gallery in 2009.
What was your main motivation for opening a gallery? Do you have any particular role models or idols?
I was sitting with my parents, discussing what I should do with the large collection of work my father had accumulated over the years. It was too expensive to auction, because then only the so-called “little things” would sell, without giving the real gems a chance to shine. So I suggested opening a gallery. Dad asked me if I was sure – I wasn't, but I said I was. I love adventures! He said, “Welcome to the shark tank.” »
Who was the first artist you hired?
Sean Hemmerle was the first artist I asked to represent him. He is a dear friend, a confidant and an extraordinary artist. The second person I asked was Jory Hull. He is also a dear and long-time friend. He's also a fantastic artist, but very different.
After how many years in the business did you get the affirmation you needed? What motivates you to continue working as a gallery owner in your space?
I seem to have a reputation for being a tough guy, which probably comes from the fact that I don't really care what other people think of me. I do what is best for the work I am charged with representing. Maybe if I slowed down for a while I could see if people confirm what I'm doing. I guess so, otherwise I wouldn't have been able to do the August Sander – People of the 20th Century stand during Paris Photo. However, I'm not sure there aren't people who hate me because of it.
But as Cyrano said: “Enemies are like a stiff collar, they keep your head on straight. »
What is your business philosophy?
Each work has a good place for a given time. It's my job to find these places. On a more fundamental level, I believe it is better to help someone than not to help them. I succeed when we succeed. If the deal is fair, then everyone wins.
How many artists do you currently represent?
My list is small, because I have a large collection of work, but not enough artists to say I represent them. I represent August Sander, of whom I hold the largest collection in the world. The list of living artists is Rosalind Fox Solomon, Sean Hemmerle, Jory Hull, Oliver Abraham, Michael Somoroff and Alfredo Srur. I have work by Isabella Armand and Chris Lee Dalton, as well as Xu Yong and Jiang Jian.
Has there been a major turning point, an overhaul of the gallery's offerings or a major movement (of any kind) since your gallery opened?
The idea of an overhaul is based on the principle of monetary success. I don't measure with this ruler. I love making great exhibitions that speak honestly about our times. I need to earn money to survive, that goes without saying. Although I sometimes wish the public would take just a small part of the risk I regularly take to support my colleagues and myself.
Strong moments or difficult moments?
The best part is that I am still here with my team after all these years. Challenges? Fuck yes. There is a saying that everyone is jealous of what you have, no one is jealous of how you got it. The art business has big risks related to vision and belief in it. It's not for the faint-hearted.
A particular anecdote that you would like to share with our readers?
The NFT project I did, AS10k, was a bit wrapped up in a lawsuit. During the legal process, it was all the news. Even Lothar Schirmer spoke about it. After my victory, no one talked about it. So maybe my anecdote is that I know what I'm doing. ????
This project is so fundamentally important. You will see. This is the foundation of something we need in cultural heritage – an open place to store information about an artist's work – without any oversight. In this case it's August Sander, but the model works for any artist's work. This is part of what we are working on with Collekton.
What's new and what does 2025 have in store for us?
2025 will be the year of Collekton. We created the app to coincide with our Paris Photo 2024 presentation and received an overwhelming response. Keep an eye on it.
In the gallery we have some very exciting exhibitions coming up, including Xu Yong and perhaps Harold Edgerton or Lisette Model.
I believe February 2023 marked the end date of what we mean by AI-free photography. What I mean is that after February 2023, we can no longer be sure that a photo was taken without AI. As proof, you can generate 36 images using AI as a narrative, then reproduce them using a slightly blurred analog camera. This would produce an analog film reel that could be mistaken for a real series of shots. This is true for everything related to photography. As such, the work produced before 2023 is all “real” photography. This end date results in a limited offer. This will in turn stabilize and increase the prices and value of these works.
Your advice to photography collectors?
In short, buy with your eyes, not your ears. Don't be afraid to buy something that may lose most or all of its value. The real value is in what it gives you. With time and experience you will get better at it and maybe you will like it.
Art is made by both the artist and at least one viewer. The consensus between you, as the viewer, and the artist as the creator validates the art. That's enough.
Do's and don'ts when it comes to photography?
Artists: Don't try to show your work at an art fair. We galleries hate, and I mean abhor, this. Find another place, another time.
Collectors: Don't ask what the work will be worth in the future. Damn, no one knows! If someone tells you a concrete value, they are doing it to get you to close the deal. It's a really boring question anyway. If I could sell a picture later, why would I hang it on the wall in the first place? Also, I know it's common practice, but this whole discount thing is bullshit. What we do, due to the constant demand for discounts, is add the discount to the price. The underlying assumption is either that art is worth less or that we are driving up prices. Both are insulting.
Galleries: Tell people how much art costs. I tested both variants, price on request and price displayed. This makes no significant difference in terms of interests. We have to accept that some works are harder to sell than others. It's work.
Photographers on your watchlist?
I don't buy names, I buy images. ????
Stay tuned and connected with Julian Sander via his gallery website www.galeriejuliansander.de and on Instagram at @galeriejuliansander
Save the date:
XU YONG – HUTONG
December 7, 2024 – March 8, 2025
