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Green with Excellence 鲜绿与卓越

Paul Sumner
Chief Executive Officer of Mossgreen, Australia

By Karina Foo 

The auction industry seems to have been overlooked among the popular and well publicised art galleries. Although a niche sector in the mass sales market, auctioning is slowly being recognised as an important business in art and trade, but one that’s focused on luxury, aesthetics and pure value.

One such business that’s been operating for the last 11 years is Mossgreen. It has grown to be known as a luxury destination to buy, sell and enjoy objects of beauty, rarity and value. Founded and established by Paul Sumner and Amanda Swanson, it functions as an Art Gallery and boutique Auction House specialising in the sale of Single-Owner Collections.

To date, Mossgreen has conducted many of the largest and most prestigious Single-Owner Auctions held in this country.

Sumners always knew that the name was a  prophecy of his future business as he started his career much earlier on in Sotheby’s Australia, another renowned auction house company.

Mossgreen_4.jpg

“I visualised the name Mossgreen 20 years ago as it was something that came to mind when I was in AngKor Wat and saw those amazing temples covered in green moss. They are ancient but still so beautifully part of our contemporary world. It already embodied my vision as Mossgreen would deal with ancient and contemporary art,” explains Paul.

His vision had manifested into a lucrative one and the company now turns over $31 million in auction sales a year after joining forces with Martyn Cook Antiques and Martyn Cook.

But just like all successful stories, he started from humble beginnings. Paul grew up in the UK and went into the business when he was 15, strongly influenced by his father who was an antique dealer.

“My parents encouraged me to work in local auction houses in Bristol. I started to acquire a broader knowledge in the area. I kept applying for jobs and tried to network my way through different auction houses in England.”

In the late 80’s, representatives from an Australian auction house came to England looking to employ people to come to Australia.

“It was interesting because I wasn’t familiar with Australia as England was very far from the Land Down Under, but I was offered a job there as a one year contract and I decided to take it for a different experience.

When I got to Australia in 1986, it was very different to what thought it would be – the country was modern and urban. It wasn’t just a dessert! I was also pleasantly surprised about the profound interest in arts and music. I worked in that auction house for the year and later was transferred to Christie’s International Auction House in Sydney and was appointed as their manager.”

Soon after, Paul was head hunted by Sotheby’s Auction House for a short post until he was promoted to its managing director. In 2000, his job took him back to England for another two years to work on major projects for the next two years.

“I learned a lot there about change management as there were a lot of staff who were used to the traditional auction house business. Change had to begin as we were dealing with contemporary styles of auction housing.”

After completing the project, Paul decided to return to Australia in 2003 and pursued his dream to set up Mossgreen as an art gallery and auction house.

Today, Mossgreen is the biggest auction house in Australia located in Armadale, one of Melbourne’s most affluent suburbs.

“We’re only halfway through to our goals as our long term vision is to be the first multi-disciplinary auction house in Australia that covers every area in depth, led with expertise at the top of every department.”

Mossgreen’s clientele is an eclectic mix of collectors of various inspired art, but the lifestyle that they aspire to live is one thing they all have in common.

“Whether they love fine dining or good music, we tap into that by fulfilling their interest by the variety that we offer in our gallery and auction house. That’s why we have a fine dining restaurant, music, collectibles and art,” says Paul.

“这只是在途中,我们的目标与长期的愿景是成为澳大利亚首个跨领域的拍卖行,深度覆盖各项领域,每个部门管理拥有领先的专业知识。”

拍卖行业随着盛行的艺术画廊而逐渐被忽视,虽然在大规模销售利润市场,拍卖慢慢受到认可为重要的艺术和商业贸易,但关注焦点却是奢侈品,美学和纯粹价值。

Mossgreen以这样的形式营运了11年,被视为奢侈品销售目的地,享受着美丽艺术,品位着稀有和价值。由Paul Sumner 与Amanda Swanson共同创立的优美天地,结合艺术画廊和精品拍卖行功能,从事独资收藏品交易。

Mossgreen_6.jpgPaul Sumner & Amanda Swanson

而Mossgreen至今已在这个国家成功承办许多大规模和具备声望的独资拥有者拍卖会。Paul Sumner认定这个名称就是未来事业的预言,早在他于苏富比澳大利亚开展职业生涯–另外一家著名拍卖公司。

“我会取名Mossgreen 是在20年前,当我在柬埔寨的吴哥窟,目睹神奇的寺庙覆盖着绿色的苔藓,它们是如此古老但仍然美丽,这是现代世界的一部分,就像苔藓绿一样展现在我的视野,辗转于古代和当代艺术。”

而他的视野折现转化成盈利的公司,与Martyn Cook古董商成为战线盟友的1年后,目前公司运转逾3100万美元的拍卖销售额。

就像所有成功故事一个不起眼的开端,他成长于英国,受到古董商父亲的强烈影响,15岁就踏足了这个业务。

“父母鼓励我在布里斯托当地一家拍卖行工作。我开始汲取相关行业的知识,并且不断申请工作,试图透过英国不一样的拍卖行拓展我的思路网络。”

在80年代末,澳大利亚拍卖行代表前往英国雇佣到当地工作的人员。

“这很有趣,我虽然不熟悉澳大利亚,只晓得是距离英国相当遥远的土地,但是我得到了一份工作,为期一年的合约,我决定体验不一样的感受。”

1986年抵达澳大利亚后,非常不同于想象–现代化国家和城市。这不仅是一次甜点,他也惊喜感受深刻的艺术和音乐熏陶。工作一年后,他被任命为国际拍卖行佳士得悉尼的经理。

过后,他也被挖角到苏富比拍卖行,任职董事经理。在2000年,由于参与一项重大项目,他返回家乡英国为接下来的2年工作进行部署。

“我学到很多关于变更管理的手法,即使许多员工习惯传统的拍卖业务,而当我们与现代风格的拍卖行应对,开始有了变化。”

项目完成后,2003年,Paul Sumner决定回到澳大利亚追逐梦想。设立Mossgreen,一个艺术画廊和拍卖行的结合体。

今日,Mossgreen是位于Armadale区域-墨尔本最富裕郊区的大型拍卖行。

“这只是在途中,我们的目标与长期的愿景是成为澳大利亚首个跨领域的拍卖行,深度覆盖各项领域,每个部门管理拥有领先的专业知识。”

Mossgreen的客户群是折衷混合各种艺术灵感的收藏家,但他们向往的启发生活是一个共同点。

“无论他们喜欢美食还是爱好音乐,我们会以各种方式满足他们的喜好,也提供我们的画廊和拍卖行。这就是为什么我们有一个美妙的餐厅、音乐,收藏和艺术。”

Clash of the Titans 泰坦之战

aww-masthead.jpgTwo very different characters who came from two different centuries and both very influential art figures in the world art and social scenes. No one in their wildest dream in the art circle would have imagined to have the opportunity to witness a joint exhibition of Andy Warhol and Ai Wei Wei until National Gallery Victoria in Melbourne Australia presented more than 300 works, including major new commissions, immersive installations and a wide representation of paintings, sculptures, film, photography, publications and social media.

A one of its kind exhibition that has successfully collaborated the artist, Andy Warhol that symbolised the 20th century modernity and the ‘American century’ and on the other hand having the ‘Chinese century’ artist from the 21st century, Ai Wei Wei.

Among the exhibits, Ai Wei Wei’s installation of 1500 bicycles from his Forever Bicycles series is definitely one that cannot be missed by any visitors as the two wheelers standing tall with a powerful demand for attention upon entering the National Gallery of Victoria.

DSCF2441_final.jpgBlossom – 2015, Porcelain

The Blossom 2015 is another of Ai’s installation depicting a large bed of thousands of delicate, intricately designed white porcelain flowers. Interesting enough is that the only exhibits that both artists had in similarities is the Andy Warhol’s Absolut Vodka created in 1985 and Ai Wei Wei’s Tang Dynasty Courtesan in Bottle (Absolute Kurant) 1994. The former having the liquor bottle design silkscreened into typical Warhol’s presentation whereas the latter used the bottle as a representation of modernity of Chinese being influenced by the Western culture whilst reminding the public of Chinese cultural artefact that survived China’s history.

DSCF2434.jpgThe original bottles that Warhol designed for the Absolut Warhol campaign in 1986

DSCF2438Clay sculpture dating from the  Song dynasty (960 – 1279) in glass Johnnie Walker Red Label bottle.

谁从两个不同的世纪,世界艺术与社会的场景在这两个非常有影响力的人物艺术来到两个非常不同的字符。没有人在艺术圈他们最疯狂的梦想会想到能有机会亲眼目睹联合展出安迪·沃霍尔和艾未未,直到国家美术馆维多利亚州墨尔本的澳大利亚提交的超过300件作品,其中包括主要的新佣金,身临其境的装置和绘画,雕塑,电影,摄影,出版和社交媒体广泛的代表性。

同类展览的一个成功合作的艺术家,安迪·沃霍尔象征着20世纪的现代性和“美国世纪”以及具有21世纪,艾未未的“中国世纪”艺术家另一方面。

DSCF2407_fianl.jpgAndy Warhol’s screen prints from his Campbell’s Soup II series (1969), with Ai Weiwei’s Coloured Vases (2015)

展品中,从他永远自行车系列艾未未的安装1500自行车绝对是一个不能被任何游客的两轮车在进入维多利亚国家美术馆矗立了强大的需求为关注错过。

在2015年花是另一种爱的安装描绘了一张大床十万细腻,错综复杂的设计白瓷花。足够有趣的是,这两个艺术家们在相似的唯一展品是在1985年,艾未未的唐代名妓的瓶(绝对Kurant)1994年前者具有酒瓶设计丝网印刷成典型的沃霍尔的表现,而安迪·沃霍尔的绝对伏特加创建后者用酒瓶由西方文化的影响,同时提醒中国文化假象的幸存中国历史上中国公众的现代性的表示。

DSCF2386_final.jpgForever Bicycles – 2015, Stainless steel bicycle frames

Melbourne Art Fair Cancelled 墨尔本艺术博览会已取消!

Highly anticipated and only another few months to go, organiser of the Melbourne Art Fair had just announced that this important and successful biennale down under that attracted over 80 galleries and made a sales of $100 million in 2014 is now cancelled.

Chairperson of the non-profit Melbourne Art Foundation, Anna Pappas, cited that one of the reasons of this unfortunate announcement was due to the withdrawal of some of the high-profile galleries days before payment of the exhibition was due according to The Guardian reports. Pappas further elaborated that the organiser has no interest in becoming an affordable and mediocre art fair.

One of the withdrawn galleries voiced an opinion that the cost commitment was high, yet there were signs of good marketing and professional staff handling the fair. Another gallery had an interview with Art Asia Pacific, citing that the unofficial announcement that Sydney Contemporary run by the Art Fairs Australia (AFA) will be transforming the biannual art fair into an annual event in 2017 had influenced the decision. Adding insult to injury was that AFA had terminated its 20-year term contract with Melbourne Art Fair after 18 months.

万众期待的墨尔本艺术博览会,却在几个月之前宣布取消。主办单位指这项十分重要及成功的双年展,往年吸引80个画廊参加,并曾在2014年达到1亿澳元的营收。

非营利的墨尔本艺术基金会主席安娜·帕帕斯说,博览会取消的原因,是由于一些高知名度的画廊因《卫报》的报道,而在缴付展览费前几天决定退出。而帕帕斯进一步说,主办单位不想举办一场廉价平庸的艺术展,所以决定取消。

其中一个退出的画廊认为,即使有良好的营销和专业工作人员举办这场博览会,但仍嫌成本太昂贵。另一个退出的画廊接受亚太艺术组织采访时说,举办悉尼当代艺术展的澳大利亚艺博会协会 (AFA),将在2017年把该双年展改成常年展的非正式消息传出后,影响了他们的决定。

雪上加霜的是,AFA在18个月后,终止了它与墨尔本艺博会长达20年的长期合同。