Urban Pop Life

Last week I did a post about the great show currently running at P.P.O.W. Gallery called Young Curators, New Ideas II. it was organized by Amani Olu. This weekend I chatted with Amani about the show and his background. Check out our conversation.

While it seems fairly obvious what the concept is behind Young Curators, New Ideas II don’t like to assume. Can you provide some insight into how the show came together and what it’s about?
Why focus on the curatorial process for an exhibit?

The exhibition at P.P.O.W is actually the second installment. I first organized this show last summer at BOND STREET GALLERY; a short lived spaced located in Gowanus where I worked as director and curator. This exhibition was originally about practicality: I needed to produce a summer show and I didn’t have the time curate one, so I invited my curator and artist friends to curate micro exhibitions in the gallery. It worked out nicely and I was able to keep my job, though I had no idea it would only last four months. The second installment is less about job retention and more about curatorial practice, specifically examining the ideas of young curators as opposed to artists.

The exhibition doesn’t directly focus on curatorial process as much as it explores the ideas of curators. I think it’s important to focus on curators, as we tend to help provide context and present work in a way that permits accessibility for both art professionals and the general public.

How has the response to the show been?

Response to the show has been amazing. There was a substantial amount of pre press, there were probably 600 people at the opening and the show has been reviewed by Time Out New York (4 out of 5 stars) and a little bird told me about an upcoming review in Village Voice by the famed Kim Levin. The same bird told me that Barbara London (MoMA) loved the show and called it “Fresh.” Now, we’re just waiting on Roberta Smith.

What has most surprised you about the response to the show?

That people loved the show. Believe it or not, I never considered it, and I think that is partly because I only curated the curators. My neck wasn’t on the line in the same way.

Tell me a bit about your background. Where are you from?

I was born and raised in Philadelphia. I had a good childhood considering I grew up in and around abject poverty in neighborhoods such as Germantown, North and West Philly. I didn’t grow up in museums or art galleries. All I can remember is that I felt different, like I didn’t belong and that I wanted to do something creative.

Do you come from a big family?

I have two sisters and one brother. I’m a middle child.

Was art a big influence in your life during childhood?

Art was not a big influence. My father was a DJ, so I grew up on music. I do remember being a kid and having a huge fascination with the graffiti in the tunnels. I would look out the window to see the new pieces. That was my only relationship to art. And of course there was fashion. I was always interested in wearing nice clothes. As a kid I would beg my mother to buy me things she could not afford. In the hood if you don’t have money, you damn sure better look like it. You pretty much learn that early. I guess I’ve always been interested in aesthetics.

Tell me a little more Amani Olu Projects. You’re a private dealer right?

amani olu projects is the umbrella company for my curatorial, advising and private dealing practice. Under amani olu projects, I have participated in SCOPE New York, SCOPE Basel, curated After Color at Bose Pacia, which ended on August 21 and organized Young Curators, New Ideas II.

How long have you been in business?

Well, that depends on which business we’re talking about. I began publishing an arts and culture magazine (b.informed) in Philly in 2002, but I didn’t really get into the art business until August 2005, when I moved to New York and co-founded Humble Arts Foundation.

What kind of clients do you work with?

I work with the type of clients who have green money or plastic credit cards, preferably those black ones by American Express.

I know you wrote The Collector's Guide to Emerging Art Photography, published by Humble Arts Foundation. Are you particularly passionate about educating and encouraging new collectors as well as educating seasoned collectors about emerging artists?

I didn’t write The Collector’s Guide, I produced it, and it’s a collection of 163 single images from photographers that we think deserve recognition. Alana Celii, Jon Feinstein and Grant Willing curated the book. I had no say in the works that were selected; I was primarily on the business end of that project.

What’s next for you?

Hopefully making some money. Those suits ain’t gonna buy themselves.

Do you currently have a physical space where you meet clients?

I meet with clients at 111 Front Street, Room 204. It’s a gallery owned by my good friend and colleague Kris Graves (Kris Graves Projects). We have a great working relationship and he’s been extremely supportive of my efforts. In fact, he is one of the first people to inspire and influence me.

How can a potential collector start a relationship with you?

They just need to call, email, text, interrupt me at dinner or do whatever the have to do. I don’t care. I’m around. Getting in touch with me is easy, they can start here: www.amaniolu.com

What’s the most important thing you’d say to someone who is considering becoming a collector of photography?

Buy work you love, you have to live with it.

Who are some emerging photographers to watch out for?

Michael Bühler-Rose, Michael Vahrenwald and Ann Woo.

Thanks for having this conversation with me and sharing your insight with my readers.

Check out some more images of the work in the show.