Helen Toomer, the recently appointed director of Pulse, is making big changes to the fair on the eve of its 10th anniversary, which will coincide with Miami Art Week in December. Starting with this week’s New York edition, she’s resetting the tone of the fair by refining its exhibitor list, condensing it to one floor of the Metropolitan Pavilion, opening a section called Pulse Points dedicated to alternative spaces and non-profits, and packing the brand new Pulse Perspectives with a series of round table discussions that bring together curators, artists, journalists, and more. ARTINFO spoke with Toomer, a former gallerist and curator, about new programming, returning to Pulse in a different role, and what her hopes are for visitors and participants.
What can we expect from Pulse New York this year?
I have shaken it up a little bit for New York. It’s not necessarily a re-launch as much as a reconsideration of what the fair is and can be. I am focused on the artists being presented and the galleries — that’s key to me. Miami will officially be Pulse’s 10-year anniversary, which is a big deal for the Pulse team and also for the exhibitors, so I really want to celebrate that fact. I’d like it to be a nod to the old, but also want to bring in new galleries, new blood, new programming, new events, and cultivate a growing new community within the arts.
Tell me about some of the changes you’ve made.
The New York fair is returning to the Metropolitan Pavilion, and I’ve looked at this as an opportunity to condense the fair. I’m concentrating on a smaller amount of galleries to really focus on the quality, and it has allowed me a much more hands on approach with the galleries in order to talk to them about which artists they are bringing, what their vision is for the presentation, and to create a cohesive installation in each booth.
I’ve also integrated the sections. The fair has always been divided between the Pulse galleries [the main floor], and the Impulse section [young, solo projects]. I’m doing away with the sections — I’m all about integrating and connectivity.
What kind of programming will there be?
We all get fair fatigue. Sometimes you walk into a fair and it just washes over you. Sometimes there is an uneven rhythm where things don’t stand out. What you need is to be able to pause and reassess, and I think that the programming is a really good way of doing that. It gives you the ability to re-contextualize what you’re looking at, and where you are, which is another reason for integrating the booths. By pairing younger, emerging artists at a young gallery next to more established artists and galleries, it creates a visual dialogue for the visitor, as well as connectivity for gallerists to talk to each other. This is an incredibly difficult time for gallerists. Rent is going up and so are art fairs costs. I think the more communication that they can have with each other, especially for younger galleries, the better. Having had a gallery myself, I looked to my peers for advice and support.
Are there things from the last time you were involved with Pulse that you’d like to see happen again?
Back in 2007 and 2009, when I was the Pulse’s communications manager, one of the things I loved most about Pulse was the real sense of community. There was a core group of galleries that were there at every fair that got along well. There was a vibe. I have a romantic notion to bring back that sense of community. I don’t think that you can ever replicate the past, but I’d certainly like to look to some of the galleries that were there at that time, as well as continue to build the fair’s new community of galleries. I loved the community spirit; everyone worked together to make the fair better.
How did owning your own gallery influence your vision for the fair?
Having a gallery for me was the best and most tough experience of my life. I completely understand for galleries just how difficult it is — the pain and the pleasure. You put so much time and effort in. Most of the Pulse galleries are not mega galleries, and they are run by small staffs, which I identify with. I want them to be able to make money, sustain their spaces, and be able to provide their artists with the money to maintain their practices. The art fairs are such an integral part now of sustaining a gallery.
I’ve tried to recall my experiences and think about what kind of fair would I want to be part of as a gallerist. I know I’m not going to be able to change things over night; there is a lot to prove to some of the gallerists and visitors.
What is your biggest hope for Frieze Week?
I want people to come, and I don’t want the fair to wash over them. I don’t want them to just sail through, or not think or feel anything, and maybe that’s an idealized romantic way to think, because at the end of the day it’s a commercial avenue for galleries, it’s a sales tool primarily for selling, but that doesn’t mean that dialogue and relationships can’t be created, initialized, or grown upon.
