The Venice Biennale is set to showcase artist Alma Allen as the United States' representative, igniting discussions surrounding his selection. This year's event, opening to art professionals and the press next week, is surrounded by a notable controversy regarding the selection process. Unlike previous years, the pavilion was not commissioned by a museum but rather by the newly established American Arts Conservancy, led by Jenni Parido, who previously managed a boutique pet food shop in Tampa, Florida.
Amidst this backdrop, Allen's galleries, Olney Gleason and Mendes Wood DM, have withdrawn their representation, although he has secured a partnership with the prominent gallery, Perrotin.
The primary question now is how this Biennale will influence Allen's market. Longtime supporter Beth Rudin DeWoody expressed her disappointment over the controversy, stating, "I love Alma... [Venice] is a great opportunity for him." Allen's work has garnered a dedicated collector base since his early days, where he sold small sculptures from an ironing board on the streets of New York City. His clientele has evolved to include notable figures such as Peter Morton and Jack Pierson, with DeWoody herself being a prominent collector.
Currently, Allen's auction prices for smaller works range from $4,000 to $12,000. His larger pieces, which often serve dual purposes as furniture, can command prices between $35,000 and $125,000. The announcement of his participation in the Biennale has led to an uptick in the availability of his works, with a recent piece selling for $12,900 at Phillips auction.
As it stands, Allen's market prices range from $25,000 to $300,000, with expectations that the Biennale will enhance his visibility and lead to greater opportunities for institutional and private acquisitions. A representative from Perrotin noted that the event could significantly elevate Allen's career trajectory.
Despite his achievements, there remains a sense that many potential collectors are yet to discover Allen's work. A source familiar with his career remarked, "There's a lot of people who seem to be unfamiliar with Alma's work." This suggests a promising horizon for Allen, as increased visibility at the Biennale could introduce his artistry to new audiences.
Allen himself has opted for a unique approach to titling his works, often leaving them as Not Yet Titled to encourage personal interpretation. However, he acknowledged the potential drawbacks of his reticence in engaging with the narrative around his art, suggesting that it may leave room for misinterpretation.
