Young Space Q+A, no.3
A conversation with independent art publicist Lindsay DeSantis
Lindsay DeSantis is a New York and New Mexico-based independent art publicist representing galleries and museums, as well as individual artists, dealers, curators, and advisors. I was first introduced to her through the avenue you might expect—getting an email about a forthcoming show at one of the galleries she works with.
I’ve written about numerous pitches she’s sent me at this point, whether for Dovetail, Colossal, or this newsletter. And I was struck in particular by her personable approach to sharing information that, in my inbox at least, feels formulaic and BCC’d like nobody’s business 99% of the time.
Receiving thoughtfully directed pitches (this goes for artists, galleries, and organizers, too!) from someone who understands your publication and takes a moment to demonstrate they’re a real human can make all the difference. It also occurred to me that before I started writing and publishing in earnest, I never really knew what an art world publicist really did. I thought it would be cool to share her experiences here.
DeSantis specializes in client messaging (both advising and writing), pitch strategies, and outreach, with a very personal and targeted approach. Lindsay enjoys conveying the personality of her clients and humanizing what can often feel like intimidating white-walled spaces. Establishing strong connections between her clients and the press make for unforgettable stories and long-lasting relationships. See more on her website.
See you again at the usual time on Wednesday!
—Kate
Q+A: Lindsay DeSantis
Lindsay, thanks so much for taking the time to answer a few questions! How did you find your way to the art world?
I’ve pretty much always had an unquenchable interest in art. I grew up in northwestern Pennsylvania, where the art scene was sort of meager, but I was massively attracted to anything that would allow me to create, or just look at beautiful things. When I eventually made it to New York for an internship, I wolfed all things art world, and it’s ultimately where I landed for work.
I’m sure there are various streams, so to speak, in which or with whom a publicist can work. How do you describe what you do in that role?
Yes, absolutely. Publicists can represent individuals (like artists) or entities (like galleries or museums). They can specialize in different medias: print, online, radio, TV, social. They can be in charge of a client’s messaging only. I’ve done it all the past 10 years. But I would say my role has been consistently about building really strong, personal pitches for my clients and arranging stories they’ll share for the rest of their lives.
You’re independent, too—did you previously have experience with galleries or larger agencies? What compelled you to strike out on your own?
Yes, I interned through college for an amazing boutique PR firm and boss who taught me everything: Nadine Johnson. I ended up rejoining full-time once I graduated. I worked on art, hospitality, and events clients there for three years. I struck out on my own because I wanted to do better! You can be much more intentional and thoughtful for your clients, and turn around a much better result, with a smaller number of them.
There are obviously huge perks to agencies (steadiness, benefits), but it’s like having to take care of a full farm versus a few star horses. It’s just about what works for you.
I admire how you work across a broad geography, based in Santa Fe and still connected to New York City. What do you enjoy most about these two very different places?
Yes! I live/work in both places throughout the year. I’m actually in New York right now. I enjoy the art I’m representing equally. One is not superior to the other, that is for sure. There’s such an emphasis on the natural world in New Mexico, so my communications there feel very poetic about that landscape. New York, of course, offers a beautiful mixed bag. In New Mexico, there are fewer events. Less cell phone service. It’s a relief. But the city keeps me sharp and demands organization.
PR-wise, the media markets are completely different sizes. It’s nice to have a small, reliable contact list in New Mexico; it’s impossible to keep your list current in New York. Ultimately, I enjoy the balance. The two places represent the two different sides of my personality. If I could, I would probably wake up in New York and go to sleep in New Mexico every day.
Do you feel like you need to always keep tabs on what’s going on in NYC?
I do. But actually more often than I thought, I’m catching New York artists in New Mexico, and New Mexico artists in New York, so, it’s helpful when it intersects!
What do you look for in a client or an assignment that makes your job the most enjoyable and fruitful?
I love artists whose work attempts to solve problems!
I think a lot of artists and very young/small galleries know about publicists but don’t necessarily know how it works or where to start. What would you say to someone who’s wondering about whether that could be a good fit?
A publicist takes your project (in my case, those are mostly exhibitions) and attempts to turn it into a headline and a story. I always ask my clients to think of headlines themselves. It helps them understand what they’re paying me to chase after.
If a project is something very “press-worthy,” the headline will be a no-brainer. If it needs some workshopping, it might be a challenge for press. But we can help there, too. We can reposition or look at a project from a completely different angle.
This sounds so vague, but my advice would be to just start a conversation. PRs are very real about what works. I think PR is also extremely flexible. We work hourly, monthly, by-project. I’m not sure if this is true for everyone, but if you tell me a budget, I can almost always match it with a scope of work. I’ve even done barter for artwork!
What are you working on now? Are you involved with any exciting projects coming up?
I’m mostly working on shows with my New York gallery families: Albertz Benda, Almine Rech, Half Gallery, and Swivel. I’m really excited about the show at Half Gallery that opened March 26, largely a coming-out show, which feels like one of the most special shows I’ve ever done.
(Pictured above, Leonard Baby’s solo exhibition, The Babys, runs through April 24 at Half Gallery in New York.)
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