At home with….Rebecca Davies

September 2021

Rebecca Davies is a founding partner in Southern & Partners, an artist management agency started in 2020 with colleagues Graham Southern, Stephanie Camu and Jess Fletcher. Working with contemporary artists and artist estates, they use their combined experience to create opportunities and advance long-term goals.

Rebecca has over 20 years’ experience in the art world spanning the commercial gallery world, auction houses, art fairs and trade associations. She began her career at Christie’s in New York in 1997. She has held senior management roles at international galleries Haunch of Venison, Blain|Southern and Marian Goodman Gallery. In 2014 Rebecca became Chief Executive of LAPADA, the UK’s largest trade association for art and antique dealers, leading the organisation through major digital transformation and marketing projects. As the representative for LAPADA, she also held the post of Treasurer for the British Art Market Federation (BAMF). Rebecca holds an MA in History of Art from the Courtauld Institute and a BA from the University of Virginia.

Last year brought about many changes as a result of the pandemic, what were the consequences for you as art advisors and how do you think this will impact your work moving forward?

We actually set up our business in the middle of the pandemic. The first meeting of the partners was outside in Hyde Park at a distance as that was the only legal way to do it! Our model, a new one for the art world where we are working directly with artists to support their careers, was incredibly well received which was perhaps a result of the pandemic encouraging people to think of new ways of doing things.

Were there any works or artists that stood out for you during that time? Or were you surprised about any art market results/changes?

The artist Hughie O’Donoghue who normally divides his time between London and Co Mayo Ireland, found himself locked down in Greenwich for all of 2020. His work which draws from memory and our collective history is also heavily influenced by landscape, so it was fascinating to see how he drew from the cityscapes surrounding his studio in Deptford to create a new and completely different body of work.

After a long period of museums and galleries being closed or travel to them prohibited how did you stay current with what was going on?

Every moment that the lockdown was slightly lifted we took advantage of the opportunity to visit artist studios and commercial galleries which were thankfully able to open at some points. The near total closure of museums has been absolutely heartbreaking, not only for this period of time, but for the long-lasting effect that these lockdowns have on the viability of many public institutions. Our advice to everyone now that they have reopened is to get back into museums whenever you can and support them.

Many people who are new to buying art are looking for inspiration and guidance from those that have been buying art for a while, especially when it comes to buying their first work of art. Do you remember your first art purchase and can you tell us what it was and why you acquired it?

My first serious art purchase was by the artist Keith Coventry and it was one of his Estate Paintings. These works are at first sight minimal, recalling the mark-making of Malevich. They represent aerial views of council estates in London, reduced to their simplest forms. I fell in love with one of an area where we lived at the time, so it also had a personal significance to me.

Is there one stand out tip that you can give to those who are starting a new collection or considering buying their first work of art?

Everyone will say to “buy what you love” but I would advise to look again at things you don’t initially love. I have found that works that gave me an instant response often do so in a superficial way which wanes with time. However, when you revisit a work that you didn’t initially understand or appreciate, it starts to unfold over time with a deeper admiration.

Is there one work that you either own or would like to own that stands out above all others for you?

There are so many. Working amongst artists and artworks, I am constantly falling in love with things I cannot afford and don’t have the wall space for! One work though that always lives in my mind is Old Oak Study by Bill Viola. It’s beautiful and meditative and one of the few video works that I think I could live with and never tire of.

Many collectors are looking to deepen their knowledge of the arts and the market, is there a book you can recommend?

I think books that give an insight into the market can be fascinating for those that are not working within it. Dark Side of the Boom by Georgina Adam is incredibly well-researched and eye opening. I would also recommend The Value of Art by Michael Findlay who was my first boss in the art world in the late 90s. It’s a fascinating read about how art is ascribed value and the inner workings of the art market. And if you want your mind blown by the excesses of artists and their hangers-on, get the collection of essays A Hedonist’s Guide to Art edited by Laura K. Jones.

What do you feel is the role of art advisors and how do you think they can help collectors?

I think opening doors and sharing information are key. The art world is often impenetrable but if you have someone that guides you to give you access to the hidden layers, then it is an incredible place to be a part of.

What is the one thing you look forward to in the art world this year? 

Simply seeing more art in person and connecting IRL with everyone again. What I would give to be able to de-install Zoom!

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