Influential London gallerist Pippy Houldsworth is celebrating her eponymous gallery’s fifth anniversary in Heddon Street, where she moved in 2011. To mark the event, Pippy Houldsworth Gallery is presenting an exhibition featuring a selection of the most important artists to have been included in its exhibition program over the past five years.Titled “5 Years at Heddon Street,” the exhibition highlights the gallery’s recent history and marks its direction for the future. The works included in the exhibitoin range from Ai Weiwei's specially commissioned piece for the gallery’s micro-project space, “The Box,” to Mary Kelly’s iconic early work from the 1970s.Pippy Houldsworth established her own gallery in London in 1999 after working at Waddington Galleries, London and the New Art Centre, Roche Court. She is particularly committed to highlighting the work of significant female artists and showcasing emerging and established artists producing work of serious, critical interest.To find out more about “5 Years at Heddon Street” and her history as a gallerist, BLOUIN ARTINFO got in touch with Pippy Houldsworth and asked her a few questions.Name: Pippy HouldsworthHails From: Dallas, ScotlandDirector of: Pippy Houldsworth GalleryGallery’s Specialty: Contemporary ArtArtists Represented:Daniel Arsham, The Bruce High Quality Foundation, Clem Crosby, Luke Diiorio, Francesca DiMattio, Ayan Farah, Rachel Goodyear, Stefanie Heinze, Mary Kelly, Tania Kovats, Ana Prata, Yuken Teruya, Bill Woodrow1. You have just launched an exhibition celebrating your eponymous gallery’s fifth anniversary in Heddon Street. What have been some of the highlights of the past five years?Ai Weiwei was one of the first artists to make a work especially for our micro-project space, The Box. Comprising a hand-made porcelain crab encroaching upon an unsuspecting cactus, A Living Sculpture was particularly poignant in its allusion to the artist’s incarceration and its reference to Internet censorship.The Box has served as an invaluable introduction to several of the artists with whom we now work. Daniel Arsham’s project for The Box and his two subsequent solo exhibitions in the main space were all utterly memorable. Daniel’s manipulation of materials defies belief and the anticipation is already building for his show at the gallery later this year.Taking on Mary Kelly in 2013 was a landmark moment for the gallery in its affirmation of our on-going commitment towards female artists.Mickalene Thomas made a major work, Monet’s Kitchen, in March 2014 for a three-person exhibition exploring notions of domestic space in relation to gender. This was shown alongside Foulard, an equally complex and beautiful painting by Francesca DiMattio, and the psychologically charged work of Rosson Crow. This exhibition continues to resonate with me three years later.We presented a survey of Carrie Mae Weems’ work in October 2014 on the tail of her seminal show at the Guggenheim in New York. As a long admirer of her practice, it was a great honour to work with an artist of such high calibre.At Art Basel in 2014, our booth included unseen, archival material by Mary Kelly from the 1970s, giving both curators and collectors an unusual opportunity to see part of Post-Partum Document. Kelly’s solo exhibition at the gallery three months later was the first in London since her ICA show in 1993.2. How does the exhibition highlight the gallery’s recent history, mark its direction for the future, and showcase current developments in contemporary art?This show highlights a number of the artists we have particularly enjoyed working with over the past few years. It manifests the quality of the programme and emphasises an important part of the gallery’s ethos i.e. the juxtaposition of emerging artists with art historical heavyweights. For instance, the dialogue between Stefanie Heinze’s painting and a new work by Paul McCarthy, likewise between the work of Luke Diiorio and Dan Graham, draws out unexpected aspects of each artist’s practice.While I feel that we will look back on this exhibition with a great sense of achievement, I am now more than ready for the next phase of the gallery’s history and am excited for its future. Our plans are coming to fruition and the energy of the gallery and its artists is palpable.3. Describe your vision as a gallerist.I am a gallerist through and through rather than a dealer. We keep the roster of artists small so we can work closely with each one and spend as much time as possible liaising with museum curators in all parts of the world on their behalf.The programme develops slowly. Whilst there is a focus on female artists, many under-recognised, it doesn’t ignore the importance of male artists. In fact, we have just taken on representation of renowned British sculptor Bill Woodrow.Being a woman in a man’s world has equipped me well to fight on behalf of our gallery artists and support those whose voice needs to be heard.4. How has the art market changed since you entered the business?It is hugely more competitive and often quite ruthless. I have been around for long enough now to turn my back on gallerists or artists who behave unprofessionally – life is too short. Conversely, it is such an honour and pleasure to deal with those who have integrity, are loyal and enjoy collaboration. Teamwork is important to me, both amongst us all at the gallery and with our artists – it creates a strong bond, offers more incentive and makes everyone happier.5. What was the last piece of art that thoroughly impressed you and why?Lygia Pape around the corner at Hauser & Wirth. Breathtaking.6. What have your most memorable moments been as a gallerist?Early in my career as a gallerist coming home to find a message from Charles Saatchi saying he would like to buy all the works available by young Scottish artist Cameron Galt. This was well before Freeze, any sign of YBAs or Saatchi’s upcoming buying frenzy.Numerous dinners with Eduardo Paolozzi at my house. His fingers were like sausages and he was a very messy eater! We had a lot of fun though.My six-year-old son and I being served a rather grand afternoon tea and gingerbread men by Gilbert & George at their home in Fournier Street.Richard Wentworth and Antony Gormley vying for space during the installation of Sweethearts at the gallery in 2012.A few too many moments, best forgotten, in Mark’s Bar at HIX Soho.The acquisition of Mary Kelly’s Corpus: Preliminary Artwork by Centre Pompidou Foundation on the first day of Frieze New York 2016.7. If you weren’t a gallerist, you’d probably be…A photographer.8. Art is…. Essential.
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