VOLTA VOICES | MICHAEL FOLEY
FOUNDER OF FOLEY GALLERY
Kamiar Maleki:
Michael, tell us a bit about the history of your gallery, when did you open your first space in New York?
Michael Foley, Owner of Foley Gallery
Michael Foley: After working with several high-profile galleries in San Francisco and then bouncing to NYC in 1997 and doing more of the same, I decided it was time for my own thing to jingle. That was 2004, and Chelsea was the place to be. I started with photography as my primary medium. That’s what I knew, and that’s what I was known for, not only as a gallery guy but as an artist as well. My passions run wide, so I added drawing and cut paper collage to the mix. I didn’t want to be all over the place, but I do work with painters now as well. I can’t help it.
KM: What encourages you to support young and mid-career artists?
MF: There is nothing like working with younger artists. And when I say young, I mean newer to the market. They can be any age, actually. I love it because I know there is a lot to develop, and they are still continually reincarnating themselves in their practice—a lot of room for growth and potential. I like building careers rather than just maintaining them.
KM: Which artist(s) do you represent during your current exhibition?
MF: I am currently reviving an exhibition of Martin Klimas Flowers. The show didn’t get the attention it deserves. Martin and I have been collaborating since 2008, and I love having his work on the walls. He never ceases to amaze me, how he can take a straightforward idea (stopping time) and translate that in dozens of ways. Genius.
Martin Klimas, Orchidaceae VII, 2010, Archival Pigment Print, 60 x 43.5 in., Edition of 3.
KM: What new measures have you and your team implemented to attract visitors and collectors now that NYC is slowly reopening?
MF: I’m on Orchard Street, which, in better days, was quite lively with visitors. It’s quiet now, or at least, more peaceful (except Friday nights when it’s a block party gone wild). We’ve gone to the appointment-only method, and I can’t say that I mind in some ways. This allows me to focus more on the matters at hand. We stay active on our platforms as best as possible.
KM: How will shifting the focus online impact the art market long-term? How has your experience been virtually these last few months?
MF: There is a lot of creative capacity for online presence. Websites can be lazy and passive, or should I say viewers (me included)! Online viewing rooms share a more in-depth experience, and layouts are far more creative than your average website. To be honest, I thrive on in-person interaction. I miss it. Even though this deafening quiet has allowed me to laser focus on some other projects, I simply miss the connection with visitors. I want that dynamic experience. What’s the point in keeping the space if it’s all so quiet and empty?!
KM: We all enjoy the spirit of art fairs, what do you miss most? And are you participating in any upcoming art fairs?
MF: Art fairs are as close to a family reunion, only a little glitzier. Hugs and kisses, champagne and fashion. I wish I could just pull up a chair and enjoy. What I miss is the dialogue with clients or anyone that happens to drop into the booth. Seeing someone discover an artist for the first time is priceless. Doing VOLTA and focusing on the single-artist presentation has allowed so much creative possibility for our layouts. I miss the solo! I have been tempted twice to do a virtual fair. I have said no in both instances. Maybe the third ask will be the charm. Stay tuned.
KM: Which advice would you give to the next generation of collectors that are making their first steps into the art world, especially in these current times?
MF: Well, you can research on Instagram, and you should. But, please, don’t let the likes and number of followers an artist has sway you too much. I’ve seen this happen in real-time at art fairs. Check-in with your gut, not the Insta page. Set up a time with the gallery or schedule a studio visit to see the work in person. Look at older and newer work, large and small. See what tickles you. Sleep on it, then choose.
KM: When did your relationship with VOLTA start? And how many VOLTA Art Fairs have you participated with us?
MF: My first VOLTA fair was in SoHo. I was THRILLED to be a part of it. It was a new venue for the fair, lots of excitement. We had micro size booths, shorter walls, and it was just PERFECT. I have done the fair every year since. I wouldn’t miss it.
KM: What is unique about our fairs? And what do you feel the new ownership/directorship brings to the fair?
Michael Foley (right) with collector in front of artworks by Simon Schubert at VOLTA New York 2015.
MF: The solo aspect had me sold. At one point, Miami had over 20 fairs going. People told me, “all the collectors go, you have to do it.” I told them, “OK, but so do all the galleries”! How can I stand out? How many times did I have to hear, “Oh, you’re in New York? So am I. I’ll stop by the gallery.” And then have them walk away. VOLTA is unique, and everyone knows it. I often hear, “Oh, I love VOLTA.” People remember. Some will come up to me and say, “You were that guy dressed in all white in that all-white booth (artist: Simon Schubert).” That was five years ago. The VOLTA team ALWAYS takes care of me, and I know that’s true across the exhibitor list. It’s the only fair that checks in with me in the “off-season” to see how I am and how the gallery is doing.
KM: Why do you believe VOLTA will have a strong future ahead and what is it that we can do to further assist galleries like yourselves?
MF: VOLTA listens. There is transparency. They are nimble and quick to adjust to ways to make the overall experience for exhibitor and visitor all the better. Even if (and they have) allow multiple artist booths, it’s the tight curation that makes this one of the most enjoyable fairs to view. Kamiar is ready to play. Big ideas matched with a friendly personality. Super excited to see where VOLTA goes. Because I’m going with it.
Foley Gallery at 59 Orchard Street in Lower East Side, New York.