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There are many benefits to working in the art world. The party was great and people got your Cy Twombly jokes. But finding a job in the art world is not that easy, as the number of positions is limited even in the largest galleries. Recruitment is also difficult from an employer’s perspective because the knowledge is very specialized.
Field Recruitment is a custom recruitment and consulting firm focused on the arts community, serving galleries, auction houses, consultancies, museums and other not-for-profit organizations. The New York-based company was just founded by Ines de Seroux and Megan ODell, and The Observer asked them about their new venture.
What was the impetus for creating on-site recruiting?
Megan Odell: We see a real need in the arts community for a new approach to the recruitment process. After being in the industry for over a decade, Ines and I have the unique ability to understand a candidate’s qualifications and personality to be successful in different positions. We’re involved on both sides of the process, and we know firsthand the importance of hiring the right people and finding the right positions.
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It feels like more people than ever want to work in the arts world. What are the main challenges in filling vacancies?
Megan Odell: To be successful in the arts industry, you need a multifaceted talent. It requires more than just an art history degree—you also need business acumen, knowledge of the art market, and the ability to communicate art in a compelling and interesting way. The most successful people are those who wear many hats, take great initiative, are able to think and execute strategically, and always focus on customer service. These are all intangible qualities to have when recruiting, but after working in this industry for so many years, Ines and I are very good at catching clues and asking the right questions to determine if someone has what it takes to be successful.
You all come here with unique backgrounds. How do you think they complement each other?
Ines de Theroux: Megan handles operations and I handle sales. We all see and experience different aspects of the art world and its mechanisms. We also worked in Europe and the US – two very different markets. We bring different perspectives but a common understanding of what it takes for organizations and individuals to succeed.
How has staffing in the arts world changed over the past decade?
Megan Odell: A lot has changed over the past decade. On the gallery side, we have seen some international expansion of galleries, first from New York to London and then to Paris, and the reverse with European galleries opening in New York. Post-Brexit, we’ve seen the Paris art market grow dramatically. Of course, there’s also the rise of the West Coast market in the United States, the expansion of art fairs around the world, and more. All of this ultimately means more opportunities, and with them, an increasing professionalization of the arts industry.
Your company operates internationally. How is the American art world different from the European art world?
Ines de Theroux: There are fundamental and subtle differences between the two. Employment laws, living standards and wage rates vary from city to city and country to country. For example, a sales director in San Francisco will have a different base salary than a sales director in London. From a more nuanced perspective, New York is by far the largest job market and in some ways the most entrepreneurial – there’s a lot going on at the intersection of art and finance, art and technology, etc. Within blue-chip galleries in New York, we are seeing the evolution of roles and departments outside of the traditional gallery model (i.e. well-resourced research teams, online sales and marketing teams, special projects teams).
Additionally, the European art community has previous experience working with recruiters. We were the first U.S.-based arts world recruiting firm, and our expertise was in high demand. Just in the last month, we have been contacted by galleries, auction houses, museums, non-profits, consultants and even artists looking for studio managers and other resources.
What was your favorite job in the art world before starting your company? Why?
Ines de Theroux: I would say that working on the Gagosian sales team has been one of the most challenging yet enriching experiences of my career. It taught me to work harder and faster than anyone else!
Megan Odell: For me, there is no choice at all! I learned a lot from every job, and I was able to take the skills I learned in one position and fine-tune and expand on them in the next. I’ve also been extremely lucky to work with the people I’ve worked with – from Phillips to Pace to Skarstetter – I’ve had the privilege of working for and with incredibly talented people.
What advice would you give to someone who wants to work in the arts world?
Megan Odell: What I’m saying is, look at as much art as you can, EVER! No matter what part of the art world you want to enter, an object-based understanding and appreciation of art is important. Be prepared to work hard and smart – look for opportunities everywhere and be ready to take advantage of them.
Ines de Theroux: I would tell them to hit the ground running and focus on getting work experience rather than an advanced degree. Once they discover they have an opportunity, take the time to build strong connections within the organization. Relationships at all levels are the key to success.
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