Renée Pfister Art & Gallery Consultancy

Renée Pfister Art & Gallery Consultancy Renée Pfister has more than 20 years of experience of working in the museums and art world Contemporary Artists•career analysis
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THE POWER OF ART #51 - DEEP TIMETwo roads come together here: no one has yet taken them to the end. This long lane backw...
16/07/2021

THE POWER OF ART #51 - DEEP TIME

Two roads come together here: no one has yet taken them to the end. This long lane backwards: it continues for an eternity. And that long lane forwards - it is another eternity. They are antithetical to one another, these roads; they directly abut on one another: - and it is here, at this gateway, that they come together. The name of the gateway is inscribed above: "Now" - Nietzsche

With this evocative quote from Thus Spoke Zarathustra, we are introduced to antithetical lines of time, stretching one downwards, towards fossil records, buried strata of the light of the past; the other upwards, to the ancient light of the stars. Where the two meet, is the spectral fingerprint of a place. This installation, where crystalline clouds of elemental media co-compose the light of the place, replicates the interactivity that is now-ness. Here, opposing lines of time come together, as in the wider dimension of deep time, the vast scale of geologic events unimaginably greater than the time scale of human lives.

Shuster + Moseley is the conceptual art studio of #ClaudiaMoseley (b. 1984) and #EdwardShuster (b. 1986). The artists create light mobiles, sculptural installations and immersive, meditative environments reflecting on the nature of consciousness and technology.
The duo developed projects with world-renowned scientists working in neuroscience, cosmology and imaging technologies. Their work is equally informed by research in anthropology, cosmology, philosophy, the esoteric arts and the poetics of space. Based in the South-East coast of England, their studio creates temporary and permanent works for public spaces, private collections and international exhibitions.

Image: Shuster + Moseley, Deep Time, 2018, Hand-blown glass, cast glass, optical filters and screens, scrap metals, electronic components, crystals, site-specific raw materials, LED’s, stainless steel bars. 5 ‘clouds’ depicted, each 1-3m x 2-5m

Courtesy and ©Shuster + Moseley and Renée Pfister Art & Gallery Consultancy, 2021

#shustermoseley #lightart #lightinstallation #contemporarysculpture #publicart #artexperience #sculptureoftheday #outdoorart #futurerelic #outdoorsculpture #reneepfisterartconsultancy #artnow

THE POWER OF ART #51 - DEEP TIME

Two roads come together here: no one has yet taken them to the end. This long lane backwards: it continues for an eternity. And that long lane forwards - it is another eternity. They are antithetical to one another, these roads; they directly abut on one another: - and it is here, at this gateway, that they come together. The name of the gateway is inscribed above: "Now" - Nietzsche

With this evocative quote from Thus Spoke Zarathustra, we are introduced to antithetical lines of time, stretching one downwards, towards fossil records, buried strata of the light of the past; the other upwards, to the ancient light of the stars. Where the two meet, is the spectral fingerprint of a place. This installation, where crystalline clouds of elemental media co-compose the light of the place, replicates the interactivity that is now-ness. Here, opposing lines of time come together, as in the wider dimension of deep time, the vast scale of geologic events unimaginably greater than the time scale of human lives.

Shuster + Moseley is the conceptual art studio of #ClaudiaMoseley (b. 1984) and #EdwardShuster (b. 1986). The artists create light mobiles, sculptural installations and immersive, meditative environments reflecting on the nature of consciousness and technology.
The duo developed projects with world-renowned scientists working in neuroscience, cosmology and imaging technologies. Their work is equally informed by research in anthropology, cosmology, philosophy, the esoteric arts and the poetics of space. Based in the South-East coast of England, their studio creates temporary and permanent works for public spaces, private collections and international exhibitions.

Image: Shuster + Moseley, Deep Time, 2018, Hand-blown glass, cast glass, optical filters and screens, scrap metals, electronic components, crystals, site-specific raw materials, LED’s, stainless steel bars. 5 ‘clouds’ depicted, each 1-3m x 2-5m

Courtesy and ©Shuster + Moseley and Renée Pfister Art & Gallery Consultancy, 2021

#shustermoseley #lightart #lightinstallation #contemporarysculpture #publicart #artexperience #sculptureoftheday #outdoorart #futurerelic #outdoorsculpture #reneepfisterartconsultancy #artnow

THE JOY OF WHAT WE DO # 36 - EXHIBITION ASSESSMENTWhenever I meander around an exhibition, I am interested in the curato...
13/07/2021

THE JOY OF WHAT WE DO # 36 - EXHIBITION ASSESSMENT

Whenever I meander around an exhibition, I am interested in the curatorial concept: how key moments shaped an art movement; the development of an artists’ vocation with their impact and influence in the art historical canon along how the narratives weave through the gallery spaces. Furthermore, I examine the project from as many different viewpoints, ranging from visitor flow, demographics, support materials, graphics, illumination, environmental conditions, technical and display requirements and the logistics involved.

Naturally, when I visited the exhibition Jean Dubuffet Brutal Art, a thoughtfully curated and well-presented major survey of his work at the Barbican Art Gallery, showcasing four decades of his career, l followed my professional interests and curiosity. Whilst walking around enjoying and assessing the show, I learnt how his freestanding theatrical props or “practicables” as Dubuffet called them were supported. He created a series of one-hundred-seventy five polyurethane cut-out figures, referring to elements of his earlier work L’Hourloupe.

In an ideal situation, I would have liked to walk on the raised platform to examine the metal supports and electronic mechanism in detail, but of course, that was impossible. And when I was leaning over for closer inspection I set off the motion detector a few times, oops …..not the best behaviour of an art professional, but I gained an understanding of how some of these props worked.

Image: ©Theatrical props of Jean Dubuffet Practicables, Renée Pfister Art & Gallery Consultancy, 2021.

#jeandubuffet #artbrut #practicables #brutalart #naif #coucoubazaar #barbican #londonexhibition #reneepfisterartconsultancy

THE JOY OF WHAT WE DO # 36 - EXHIBITION ASSESSMENT

Whenever I meander around an exhibition, I am interested in the curatorial concept: how key moments shaped an art movement; the development of an artists’ vocation with their impact and influence in the art historical canon along how the narratives weave through the gallery spaces. Furthermore, I examine the project from as many different viewpoints, ranging from visitor flow, demographics, support materials, graphics, illumination, environmental conditions, technical and display requirements and the logistics involved.

Naturally, when I visited the exhibition Jean Dubuffet Brutal Art, a thoughtfully curated and well-presented major survey of his work at the Barbican Art Gallery, showcasing four decades of his career, l followed my professional interests and curiosity. Whilst walking around enjoying and assessing the show, I learnt how his freestanding theatrical props or “practicables” as Dubuffet called them were supported. He created a series of one-hundred-seventy five polyurethane cut-out figures, referring to elements of his earlier work L’Hourloupe.

In an ideal situation, I would have liked to walk on the raised platform to examine the metal supports and electronic mechanism in detail, but of course, that was impossible. And when I was leaning over for closer inspection I set off the motion detector a few times, oops …..not the best behaviour of an art professional, but I gained an understanding of how some of these props worked.

Image: ©Theatrical props of Jean Dubuffet Practicables, Renée Pfister Art & Gallery Consultancy, 2021.

#jeandubuffet #artbrut #practicables #brutalart #naif #coucoubazaar #barbican #londonexhibition #reneepfisterartconsultancy

THE POWER OF ART #50 - ON THE SHORE !!We are delighted to share with you the news that the Artists Ackroyd & Harvey have...
09/07/2021

THE POWER OF ART #50 - ON THE SHORE !!

We are delighted to share with you the news that the Artists Ackroyd & Harvey have collaborated with the poet, novelist and activist Ben Okri to address the climate emergency, and make a plea for governments to act with urgency and humanity on the #ClimateCrisis. Over nine days the artists had been growing a 16 meters long g

rassy pelt, from a bed of woven hessian stretched across the floor of Tate Modern’s Turbine Hall. Imprinted on its surface, Ben Okri’s words: “CAN’T YOU HEAR THE FUTURE WEEPING? OUR LOVE MUST SAVE THE WORLD”.

Stencilled letters made the grass underneath grow bright yellow, as they were deprived of light. On 25th June at 12pm, the living artwork was then accompanied by the artists activists on a procession, a ceremonial journey from @Tate to the Thames.

The event was commissioned by #WritersRebel and saw the collaboration of Liz Jensen, @CapitalChoir, Mirabella Okri, @damonalbarn, Charlotte Jarvis, Sam Keen, @kellyhillphoto, Paul Ewen and many volunteers.

The installation follows Tate’s declaration of a climate emergency in 2019.

Heather Ackroyd and Dan Harvey (b. 1959/1959 England) are internationally acclaimed for creating works that intersect art, activism, architecture, biology, ecology and history. In 2019, the artists co-founded @CultureDeclaresEmergency in response to the climate and ecological emergency.

Image: On the Shore ©Ackroyd & Harvey and Ben Okri Commissioned for Paint The Land by Writers Rebel
Photo: Harry Hawkins
Seedling grass, hessian, photosynthesis

#ackroydandharvey #benokri #grass #poetry #artinstallation #performance #thames #culturedeclaresemergency #photosynthesis #damonalbarn #PaintTheLand #climateemergency #turbinehall #artforever #reneepfister #tatemode

THE POWER OF ART #50 - ON THE SHORE !!

We are delighted to share with you the news that the Artists Ackroyd & Harvey have collaborated with the poet, novelist and activist Ben Okri to address the climate emergency, and make a plea for governments to act with urgency and humanity on the #ClimateCrisis. Over nine days the artists had been growing a 16 meters long g

rassy pelt, from a bed of woven hessian stretched across the floor of Tate Modern’s Turbine Hall. Imprinted on its surface, Ben Okri’s words: “CAN’T YOU HEAR THE FUTURE WEEPING? OUR LOVE MUST SAVE THE WORLD”.

Stencilled letters made the grass underneath grow bright yellow, as they were deprived of light. On 25th June at 12pm, the living artwork was then accompanied by the artists activists on a procession, a ceremonial journey from @Tate to the Thames.

The event was commissioned by #WritersRebel and saw the collaboration of Liz Jensen, @CapitalChoir, Mirabella Okri, @damonalbarn, Charlotte Jarvis, Sam Keen, @kellyhillphoto, Paul Ewen and many volunteers.

The installation follows Tate’s declaration of a climate emergency in 2019.

Heather Ackroyd and Dan Harvey (b. 1959/1959 England) are internationally acclaimed for creating works that intersect art, activism, architecture, biology, ecology and history. In 2019, the artists co-founded @CultureDeclaresEmergency in response to the climate and ecological emergency.

Image: On the Shore ©Ackroyd & Harvey and Ben Okri Commissioned for Paint The Land by Writers Rebel
Photo: Harry Hawkins
Seedling grass, hessian, photosynthesis

#ackroydandharvey #benokri #grass #poetry #artinstallation #performance #thames #culturedeclaresemergency #photosynthesis #damonalbarn #PaintTheLand #climateemergency #turbinehall #artforever #reneepfister #tatemode

PROTECT THE EARTH AND ITS INDIGENOUS PEOPLE !!
04/07/2021
Help end the slaughter

PROTECT THE EARTH AND ITS INDIGENOUS PEOPLE !!

Paulo was murdered while protecting the Amazon. But he isn't alone: every 48 hours, one earth defender is killed.

THE POWER OF ART #49 - THE WOOD SERIES !!Pip Dickens is interested in the concepts of illusion and double meaning whereb...
02/07/2021

THE POWER OF ART #49 - THE WOOD SERIES !!

Pip Dickens is interested in the concepts of illusion and double meaning whereby the viewer receives contrasting visual or intellectual responses to a single stimulant. The monochromatic nature of charcoal on paper exploits the dramatic effects of light and darkness. She uses the silver birch tree as a metaphor for earthly concerns. To her, this botanical species a symbol of spring, light and love.

The Wood series, 2008, was the first body of charcoal drawings created by Dickens, presenting different views of a birch tree scenery. At first glance, the images appear like photographs exploring the texture of the bark, their vertical and symmetrical appearance and their hovering between lightness and darkness. She portrays a dreamlike vision of tree stems, sans foliage and no other living thing in their presence, inviting our imagination to explore the depths of a mysterious forest - a journey into the unknown -.

Dickens currently lives and works as a painter and lecturer in Fine Art (Painting) at Lancaster University. Four charcoal drawings from the Woods series are held in the British Museum Prints & Drawings Collection.

Image: Woods III, 2008, charcoal on paper, H295 mm x W365 mm, including mount.

Courtesy and ©Pip Dickens, British Museum and Renée Pfister Art & Gallery Consultancy.

#pipdickens #britishartist #charcoal #birchtrees #landscape #contemporarycharcoalartwork #finearts #britishmuseum #prints&drawings #reneepfisterartconsultancy #monochrome

THE POWER OF ART #49 - THE WOOD SERIES !!

Pip Dickens is interested in the concepts of illusion and double meaning whereby the viewer receives contrasting visual or intellectual responses to a single stimulant. The monochromatic nature of charcoal on paper exploits the dramatic effects of light and darkness. She uses the silver birch tree as a metaphor for earthly concerns. To her, this botanical species a symbol of spring, light and love.

The Wood series, 2008, was the first body of charcoal drawings created by Dickens, presenting different views of a birch tree scenery. At first glance, the images appear like photographs exploring the texture of the bark, their vertical and symmetrical appearance and their hovering between lightness and darkness. She portrays a dreamlike vision of tree stems, sans foliage and no other living thing in their presence, inviting our imagination to explore the depths of a mysterious forest - a journey into the unknown -.

Dickens currently lives and works as a painter and lecturer in Fine Art (Painting) at Lancaster University. Four charcoal drawings from the Woods series are held in the British Museum Prints & Drawings Collection.

Image: Woods III, 2008, charcoal on paper, H295 mm x W365 mm, including mount.

Courtesy and ©Pip Dickens, British Museum and Renée Pfister Art & Gallery Consultancy.

#pipdickens #britishartist #charcoal #birchtrees #landscape #contemporarycharcoalartwork #finearts #britishmuseum #prints&drawings #reneepfisterartconsultancy #monochrome

The Joy of What We Do #35 - The Climate Crisis and the Art WorldJoin us for an online lecture on Thu, Jul 1 2021 at 6 pm...
29/06/2021

The Joy of What We Do #35 - The Climate Crisis and the Art World

Join us for an online lecture on Thu, Jul 1 2021 at 6 pm GMT (1 pm ET) hosted by Sotheby's Institute of Art.

This lecture will explore the multiple facets of the climate crisis caused by the art world: though many organisations and artists are transitioning from unsustainable working practices to more maintainable and resourceful ones, many controversial methods still exist in the contemporary art world.

We will examine the changes that still need to be made in the sector, alongside the shared vision and commitment that is now taking root.

Beginning with a brief introduction by #RenéePfister, we will be joined by #HeatherAckroyd, artist and co-founder of Culture Declares Emergency. Heather will discuss the emergence of Culture Declares Emergency, which launched in 2019, in response to dire warnings issued by scientists. The movement now numbers over 1500 artist practitioners and cultural organisations and is part of an ecology of like-minded movements that has emerged in the last two years.

To attend: tinyurl.com/2s7e88eb

#climateactivism #environmentaljustice @culturedeclares #CultureTakesAction #ClimateEmergency #ClimateCrisis #ClimateActionNOW #sothebysinstituteofart

The Joy of What We Do #35 - The Climate Crisis and the Art World

Join us for an online lecture on Thu, Jul 1 2021 at 6 pm GMT (1 pm ET) hosted by Sotheby's Institute of Art.

This lecture will explore the multiple facets of the climate crisis caused by the art world: though many organisations and artists are transitioning from unsustainable working practices to more maintainable and resourceful ones, many controversial methods still exist in the contemporary art world.

We will examine the changes that still need to be made in the sector, alongside the shared vision and commitment that is now taking root.

Beginning with a brief introduction by #RenéePfister, we will be joined by #HeatherAckroyd, artist and co-founder of Culture Declares Emergency. Heather will discuss the emergence of Culture Declares Emergency, which launched in 2019, in response to dire warnings issued by scientists. The movement now numbers over 1500 artist practitioners and cultural organisations and is part of an ecology of like-minded movements that has emerged in the last two years.

To attend: tinyurl.com/2s7e88eb

#climateactivism #environmentaljustice @culturedeclares #CultureTakesAction #ClimateEmergency #ClimateCrisis #ClimateActionNOW #sothebysinstituteofart

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Renée Pfister brings over 20 years of experience in working in the museums and art world where she applied her MA in Museums and Gallery Management to academic and collections management roles. As part of the curatorial team at the British Museum she was involved in realising major projects such as the Great Court and the Weston Gallery of Roman Britain. At the Tate Gallery she worked as a Registrar and was responsible for managing acquisitions and groundbreaking International Programme exhibitions. During her time at Tate she participated in an exchange programme with the Museum of Modern Art, New York, working in the Office of Registrars. She joined Gander & White in 2006, as Associate Director for Museums & Galleries, and oversaw the strategic business development of Museum and Gallery department.

In 2009 she returned to the public sector and was employed at the Science Museum as Collection Manager where she managed the Collection Management team and approximately 200,000 objects. More recently she worked for the late Sir Anthony Caro as an Exhibition Strategist. Since 2010, she manages her own Art & Gallery Consultancy, and offers advice and services for international collectors, artists and museums. In addition, she lectures and delivers art related courses at City University, Sotheby’s Institute of Art and other UK institutions.

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