The State of Things. On Galleries, Artists and Institutions. An interview with Ivan Barnett

In your articles, you often speak about the importance of enhancing the value of a gallery and its artists. What does “valorization” mean to you in this context? And how is value actually created?
If there’s one thing that matters above all else, it’s the why—for the gallery and for every artist it represents. Not surface-level stories or résumés, but the deeper, untold intentions that fuel the work. This is critical for success. The story drives meaning, connection, and ultimately, commerce.

Excellence is the baseline. Greatness is assumed. What sets you apart is how effortlessly you deliver that excellence with feeling, and whether your story makes people care enough.

And yes, you’ll need to deliver it again. And again.


What do you think should be the role of galleries in shaping a strong, trustworthy Contemporary Jewellery market?
A great gallery can launch an artist’s career, establishing them as truly one-of-a-kind. When executed properly, both artist and gallery rise together. But this only works if the relationship is fully transparent and deeply collaborative.

Artists must inform galleries of studio visits. Galleries must notify artists of collector interest—no guessing, no silence. Delayed communication breeds distrust—and lost sales.

Trust hinges on full disclosure, especially around payments. Too many galleries have failed by breaking that trust. Don’t let that be you. Communicate. Constantly. And mean it.


Do you feel that the long-term commitment between galleries and artists is sometimes lacking? And are institutions and museums doing enough to help stabilize and grow the field?
There was a time when the artist-gallery relationship felt like a sacred pact—built on trust, mutual respect, and shared goals. That foundation is changing and eroding, and both sides bear some responsibility.

Artists: if a collector contacts you directly, it’s your professional obligation to notify your gallery. One behind-the-scenes sale—or the perception of one—can unravel years of trust. It’s not just about ethics; it’s about protecting your reputation and long-term success. For goodness sakes, be generous!

Galleries: the responsibility doesn’t end with representation. If you’ve taken on an artist to represent, your commitment must be active—ongoing promotion, consistent marketing, and open communication are non-negotiable and please consider using the phone sometimes—not just texts or emails.

Trust must go both ways. Artists should loop galleries in on every inquiry. Galleries must be transparent with sales and payments. When either side hides information, the relationship starts to crack. Once those cracks deepen, it’s almost impossible to repair.

It’s shocking how many art schools still fail to teach this. Instructors who don’t pass along these professional expectations are doing their students a disservice. Creative talent alone isn’t enough—you need to understand business to sustain a career. The best artists are those who can move between their studio and their business world with sureness and integrity.


During your time at Patina, was collaboration with other galleries, such as joint sales or shared exhibitions, a common practice?
In 25 years, the gallery collaborated only a few times with other galleries. This happened mostly when a work of art was borrowed for a group exhibition or thematic event. And yes, the gallery would accommodate the other gallery with a percentage of the sale. Credit was always given when labeling works that it was a “borrowed work.” A gallery is a business like any other. This means there is natural competition. For the most part every gallery that opens is pretty much on its own. The same would be true of your favorite coffee destination. It is survival of the fittest. It is idealistic to think that “everyone wants their colleagues to do well.” Nice thought, yet not realistic. When a gallery is doing world-class work at every turn, you will see the competition go away. The more you do, the more your competitors fall away.


It seems that many galleries still operate under old-school, unspoken rules, keeping to their own circles. Is there a general reluctance to collaborate more openly?
As Creative Head of Patina Gallery, my mandate was clear: make it more compelling and unforgettable than any jewelry gallery in the world. And we did—consistently outperforming 85% of the art jewelry world.

But then came the real challenge: competing with the elite 10% who work relentlessly, strategically, and without shortcuts. The truth? There aren’t enough top-tier galleries for every artist. Maybe 20 in the world operate at that A+++ level.

This isn’t about fairness. It’s business. It took Patina five years to become a top destination in the U.S.—another five to gain international stature. And we did it by making excellence look effortless.

If you’re not aiming to be the best, you might need to rethink your career. The bar is high. The competition is fierce. And yes—while you’re climbing, make it all look easy.
 

You seem inclined toward proactive action rather than simply waiting for things to unfold. What kind of response do you expect from institutions, organizations, galleries, collectors, or artists?
Waiting is not a strategy—it’s a risk you can’t afford. A slow, thoughtful pace is fine, but waiting with no plan? That’s a fast track to failure and lost market share.

Procrastination in the studio or business is the kiss of death. Most artists didn’t choose this path to become entrepreneurs—but like it or not, you’re in one of the hardest professions out there.

The answer? Stop waiting. Stop hoping someone else will save you. And don’t mistake asking for help as weakness—it’s smart. It’s survival. More than 80% of artists drop out. Don’t be one of them.


Frida on the Camino Real. Image by Ivan Barnett.


About Market Conditions, Trust & Sustainability

We often discuss the importance of goodwill in the art market — the idea that trust drives purchases, and purchases reinforce trust.
In your view, is there genuine goodwill in this competitive market?
We artists and galleries are all in a grand match, and the goal is to fairly win the game and keep winning. I’d use the word “loyalty.” The loyalty of the customers and collectors to an artist’s works—or even a gallery—is a good thing and must be earned. Santa Fe attracts hundreds of artists every year, all thinking that it is one large communal Artists Colony and everyone will be supportive. This could not be farther from the truth. It has nothing to do with trust. It has to do with grit and determination. The reality is there’s not enough “to go around” and that is a global truth. So, if you want to sustain, do great work every day, every minute. That’s your only path that will work.


Do you think the contemporary jewellery market is regulated enough or transparent enough for a client to trust that what they are paying for is worth what they are getting?
The art world, gallery world, and even the studio world of artists has little regulation. There are standards, and the standards differ, according to place or country, etc. I like to refer to regulations as professional practices which can vary. As for worth issues with jewellery, the materials must be clearly curated. Something is either 22 karat gold or not. Diamonds are conflict free or not. Pricing our time into our works or our galleries is not a science. There are too many variables. So, the question begs for interpretation. Artists, galleries and museums must invest in the most personal, truthful story they can create. If there is trust in the mix, the collectors and the visitors will keep returning because of “your story and your meaning.”


Father Isa who showed me the way. Image from Ivan Barnett.


About Market Data & Economic Awareness

You mention a 15% drop in luxury jewellery sales. But when it comes to Contemporary Jewellery, we lack reliable data. Does such data exist? If not, who could or should be collecting it?
In the U.S., most jewelry industry data focuses on mass-produced work. Handmade studio jewelry makes up only about 5% of the market. While shows like Schmuck and Inhorgenta should track relevant data, the gallery world remains somewhat secretive. Even if a gallery is in the red, they won’t admit it, which has its downside.

Good business starts with tracking your own numbers. Artists and galleries alike must study sales, costs, and trends yearly. If you’re not, you’re hurting your future.

Stop waiting to be discovered. Even top studio jewelry artists can fall behind if they ignore the business side. The stars didn’t get there by chance—they had help, strategy, and discipline.

And remember—others with less talent may pass you by simply because they manage smarter businesses. Don’t let that happen. Once a gallery starts losing ground, it is almost impossible to regain it. Even great actors can only make so many bombs before the audience moves on.


The global art market moves billions each year. Do you think there's political awareness or recognition of this sector as a serious economic force?
In 2024, global art sales accounted for 12% of the total global art market value, which was estimated at $57.5 billion according to Art Basel and UBS.

Percentages of fine jewelry are not broken down in the results.

In 2024, the global jewelry market was valued at around USD 232.94 billion. While the luxury jewelry segment is growing, a significant portion of the market still involves costume and other non-luxury jewelry. In 2024, the global luxury jewelry market was valued at approximately $49.1 billion, close to 21% of the global jewelry market. Gold dominates the material segment, accounting for 33.1% of revenue in 2024, according to Grand View Research.

Art can shift perception in ways data cannot. Banksy is one in a million. The same goes for Warhol, Picasso or Christo.


It takes a village, Santa Fe, Mosaic, 2024. Image by Ivan Barnett.


About Education & Professional Practice

What’s your opinion on the current educational guidelines in art and jewellery schools?
We often see students graduate with creative skills but little understanding of the market, pricing or professional dynamics. Is this because most teachers are practising artists themselves? How can this imbalance be addressed?
Take the money that you would have spent on art or jewellery school and figure out a way to apprentice with a skilled artist. The teacher-student conflict is not new, and schools are churning out thousands of aspiring artists lacking professional skills. The only way this can be addressed is by the individual. Get out there and find your way and stop waiting for someone to make it easier for you. You are wasting time. And if you are suffering from economic scarcity, get a day job to support yourself. Then, invest in yourself. Don’t fool yourself into thinking you don’t sometimes need to pay for business help and creative mentorship.


Lack of commitment and professional initiative aren’t just a problem for young artists. Even senior artists sometimes rely heavily on exhibitions to get discovered, without being truly proactive. What’s your take on this after 25 years of running a gallery?
Here’s the truth as I see it. There are not enough great jewelry galleries in the world to be “a part of” realistically. And the gallery business is indeed just that, a business. I took several educated risks in my 25 years as a gallery co-owner. Eighty percent of these gambles did pay off, which is a profound number. That never would have happened if I hadn’t taken the risks to begin with.& Great businesses are built with proportional risk.

Getting discovered is a fallacy, to a degree. Make, consistently, great jewelry, first. Forget about being discovered. And put your smart phones away for the better part of your day. Stop trying to shock your audience, unless you are doing IT better than Dali or Bacon. You are wasting your time. They did it brilliantly and could. Spreading sensational but mediocre works on the internet will not help you. And the last rule of thumb or mediocrity is bigger is not better. It is worse.


My mother beautiful, drawing by Leo Karp. Owned by Ivan Barnett.


About Exhibitions, Experience & Substance

When curating or proposing exhibitions today, do you feel that the focus has shifted toward the experience rather than the content? Are social media, immersive formats, and visual appeal overtaking the conceptual depth?
It should be “and & both” questions at the same time. Experience and content, and not one or the other. Look, if you want to make experimental jewellery that is barely wearable, that’s fine. But be prepared to have it have limited commercial success. Even Alexander Calder went large, but he made it true sculpture. Plus, he was already an internationally acclaimed maker. Concept matters, as do quality, craft and story. It all matters. Until you have great works or a great gallery, put the social media away. You are simply distracting yourself, as well as the viewer.
True greatness stops us in our tracks.



We remind our audience that it is possible to join this conversation through the comments section below. Perhaps this is a good place to speak up about what truly concerns us all — and what the current professional reality demands of us. Or not?

 

About the Interviewee

Ivan Barnett
As co-founder and creative director of Patina Gallery, Ivan played a pivotal role in elevating artists’ careers and shaping the gallery’s international reputation. His expertise in gallery management, marketing, and exhibition planning allows him to support creatives in crafting sustainable careers. Through one-on-one coaching and curatorial support, he encourages artists to refine their narratives, embrace risk, and find deeper creative meaning.
Raised in a family of artists, Ivan was influenced by his father, Isa Barnett, a celebrated painter. After studying at the University of the Arts in Philadelphia, he pursued a career in painting, metalwork, sculpture, and mixed media. In 2023, he launched Serious Play, integrating mentorship with innovative business strategies to help artists refine their messaging and expand their careers.
Unlike most consultancies, Ivan’s empathetic and intuitive approach fosters creative dot connecting, collaboration and profound storytelling, proving that art is not just something we create—it’s something we are. Learning the art of playing seriously can transform and propel our lives toward new heights.

Serious Play, based in Santa Fe, NM, is a creative consultancy founded by Ivan Barnett, an artist, curator, and mentor with over five decades of experience in the art world. Ivan helps artists, galleries, and arts organizations navigate the complexities of creative careers by blending artistic exploration with strategic business acumen.
Serious Play’s purpose is to mentor artists and art organizations to tell more of their untold stories.

creativemornings.com/individuals/ivanbarnett
seriousplaysf@gmail.com